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explore how disciplines often kept apart – art, architecture, design, placemaking and philosophy – might meet in the shared spaces of contemporary Asia. The cong, the ancient Chinese artifact that lends the journal its name, symbolically joins the circle and the square; it suggests that harmony can be found not through uniformity but through encounter.",[],{},{"nodeType":143,"data":3292,"content":3293},{},[3294],{"nodeType":147,"value":3295,"marks":3296,"data":3297},"With CONG 002, we carry this idea forward, seeking new connections between thought and form, and between places that shape and are shaped by cultural life. The issue asks how intelligence and imagination come into being through the spaces, systems, and surfaces of contemporary life – from the architectures of cities to the emotional grammars of algorithms, with a focus on Asia’s dynamic urban landscapes, especially Tokyo, Hong Kong, and Bangkok.",[],{},{"nodeType":143,"data":3299,"content":3300},{},[3301],{"nodeType":147,"value":3302,"marks":3303,"data":3304},"The response to our inaugural issue was deeply encouraging. From readers around the world, we received generous praise that inspired us to keep expanding the conversation. In March 2025, we hosted a panel at Art Basel Hong Kong’s Exchange Circle featuring leading voices in architecture – Betty Ng of COLLECTIVE and Charlotte Lafont-Hugo of BEAU Architects – in discussion about the evolving typologies of galleries and exhibition spaces in Asia. Later in the year, we partnered with Ghost 2568: Wish We Were Here in Bangkok, moderating their Curator Roundtable, while in November, we spoke at Art Collaboration Kyoto and Shanghai Art Week. Apart from convening such public engagements, Serakai Studio has hosted a series of intimate dinners and gatherings in Tokyo and Hong Kong, nurturing the community that animates CONG, with more encounters to come.",[],{},{"nodeType":143,"data":3306,"content":3307},{},[3308],{"nodeType":147,"value":3309,"marks":3310,"data":3311},"This second issue brings together contributors who examine how ideas take spatial, social, and emotional form across Asia’s urban contexts. In collaboration with leading visual artists, architects, and thinkers, CONG 002 traces how intelligence, intuition, and myth inhabit the material world – moving through buildings, images, and networks that shape how we sense, feel, and know. We are delighted to welcome Daniel Szehin Ho as Executive Editor. Previously heading up publications at Tai Kwun Contemporary, he brings a wealth of experience and insight to the editorial direction of CONG. Design is, as before, by the visionary team at HATO, whose work continues to define the journal’s distinctive visual identity. ",[],{},{"nodeType":143,"data":3313,"content":3314},{},[3315],{"nodeType":147,"value":3316,"marks":3317,"data":3318},"We are also proud to introduce GOLD, a Salon by Serakai Studio that will open early 2026 in Wong Chuk Hang, on the south side of Hong Kong Island. Housed in a former bank and jewellery shop, GOLD pays homage to its past while reimagining the future of cultural spaces.",[],{},{"nodeType":143,"data":3320,"content":3321},{},[3322],{"nodeType":147,"value":3323,"marks":3324,"data":3325},"Like CONG, GOLD will bridge disciplines and test ideas that will shape the future of our cities. A Salon-like platform for exhibitions, performances, talks, and more, it will present contemporary art, fashion, product design, and music in provocative and unexpected combinations. Supported by Serakai, GOLD is a space that privileges curated cultural exchange. A critical convergence of art, design and discourse can be experienced, while ideas and forms can be appreciated in situ, discussed, and – at times – collected for personal enjoyment in the form of artworks, editions or printed material. ",[],{},{"nodeType":143,"data":3327,"content":3328},{},[3329],{"nodeType":147,"value":3330,"marks":3331,"data":3332},"Together, CONG and GOLD form connected platforms: publication and site, text and encounter, both exploring how contemporary cultures are made, felt, and shared. Both bring together artists, designers and makers around a shared speculative vision. We look forward to welcoming you to our spaces; online, in print and in person.",[],{},{"nodeType":143,"data":3334,"content":3335},{},[3336],{"nodeType":147,"value":3216,"marks":3337,"data":3338},[],{},{"metadata":3340,"sys":3343,"fields":3348},{"tags":3341,"concepts":3342},[],[],{"space":3344,"id":3242,"type":212,"createdAt":3243,"updatedAt":3243,"environment":3346,"publishedVersion":26,"revision":216,"locale":31},{"sys":3345},{"type":14,"linkType":15,"id":16},{"sys":3347},{"id":23,"type":14,"linkType":24},{"title":3247,"description":1284,"file":3349},{"url":3249,"details":3350,"fileName":3254,"contentType":228},{"size":3251,"image":3351},{"width":3253,"height":3253},{"metadata":3353,"sys":3356,"fields":3367},{"tags":3354,"concepts":3355},[],[],{"space":3357,"id":3359,"type":18,"createdAt":3360,"updatedAt":3361,"environment":3362,"publishedVersion":3364,"revision":71,"contentType":3365,"locale":31},{"sys":3358},{"type":14,"linkType":15,"id":16},"6xEyd8RLU3JlNJNRWselQq","2025-11-06T22:56:58.402Z","2025-11-09T16:47:16.280Z",{"sys":3363},{"id":23,"type":14,"linkType":24},22,{"sys":3366},{"type":14,"linkType":29,"id":3211},{"name":3368,"slug":3369,"issue":3215,"title":3370,"author":3371,"hero":3372,"sections":3402,"thumbnailImage":3450},"CONG 002: Editor's Letter ","cong-002-editors-letter","Editor’s Letter","Daniel Szehin Ho",{"metadata":3373,"sys":3376,"fields":3387},{"tags":3374,"concepts":3375},[],[],{"space":3377,"id":3379,"type":18,"createdAt":3380,"updatedAt":3381,"environment":3382,"publishedVersion":3384,"revision":1078,"contentType":3385,"locale":31},{"sys":3378},{"type":14,"linkType":15,"id":16},"6UthsRhywxirlqoL1BR3pV","2025-11-06T22:52:33.676Z","2025-11-06T23:01:22.885Z",{"sys":3383},{"id":23,"type":14,"linkType":24},16,{"sys":3386},{"type":14,"linkType":29,"id":3231},{"name":3388,"title":3370,"author":3371,"image":3389,"imageOption":3255},"CONG 002 Intro Letter (hero)",{"metadata":3390,"sys":3393,"fields":3398},{"tags":3391,"concepts":3392},[],[],{"space":3394,"id":3242,"type":212,"createdAt":3243,"updatedAt":3243,"environment":3396,"publishedVersion":26,"revision":216,"locale":31},{"sys":3395},{"type":14,"linkType":15,"id":16},{"sys":3397},{"id":23,"type":14,"linkType":24},{"title":3247,"description":1284,"file":3399},{"url":3249,"details":3400,"fileName":3254,"contentType":228},{"size":3251,"image":3401},{"width":3253,"height":3253},[3403],{"metadata":3404,"sys":3407,"fields":3417},{"tags":3405,"concepts":3406},[],[],{"space":3408,"id":3410,"type":18,"createdAt":3411,"updatedAt":3412,"environment":3413,"publishedVersion":496,"revision":1078,"contentType":3415,"locale":31},{"sys":3409},{"type":14,"linkType":15,"id":16},"2l4UU51585X1qRSL7Z8fS9","2025-11-06T22:54:10.714Z","2025-11-06T22:59:45.964Z",{"sys":3414},{"id":23,"type":14,"linkType":24},{"sys":3416},{"type":14,"linkType":29,"id":3271},{"title":3418,"text":3419},"CONG 002 Editor's Letter text",{"nodeType":139,"data":3420,"content":3421},{},[3422,3429,3436,3443],{"nodeType":143,"data":3423,"content":3424},{},[3425],{"nodeType":147,"value":3426,"marks":3427,"data":3428},"What does it mean to live when time seems to fold back on itself – when images, myths, and memories return like refrains, never quite the same, never entirely gone? These repetitions can feel weary, but they can also offer openings: within the noise of the everyday, we glimpse how places, technologies, and rituals quietly make and remake the way we live, work, and dream.",[],{},{"nodeType":143,"data":3430,"content":3431},{},[3432],{"nodeType":147,"value":3433,"marks":3434,"data":3435},"Across the pages of CONG 002, writers and artists trace these structures of the present. Moving from Shanghai’s clubs to a Hong Kong department store, from fashion in Tokyo to healing rituals and wellness spas in Thailand, they map Asia as a tangle of material and immaterial cultures, suspended between exhaustion and renewal. Our sense of the real is also stretched by designers reimagining how buildings feel and function, artists cultivating and calibrating the atmospheric, and technologists rethinking intelligence itself.",[],{},{"nodeType":143,"data":3437,"content":3438},{},[3439],{"nodeType":147,"value":3440,"marks":3441,"data":3442},"Moving between these registers, CONG 002 continues its experiment in crossing disciplines – in circling the square, so to speak. Architecture and acts of place-making also become ways of sensing inner life; myth, a means of grasping what remains hidden and yet endures. The journal moves along this threshold – between the material and the symbolic, where meanings are felt and remade, sometimes becoming an architecture of its own.",[],{},{"nodeType":143,"data":3444,"content":3445},{},[3446],{"nodeType":147,"value":3447,"marks":3448,"data":3449},"Daniel Szehin Ho\nExecutive 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Speaking with Tobias Berger and Daniel Szehin Ho, Thomas Heatherwick reflects on how emotion, function, and detail come together to shape urban life. From the transformation of Pacific Place in Hong Kong to projects across Asia, he talks passionately about engaging the senses and advocates for an architecture that sustains public life through care and curiosity. ",[],{},{"nodeType":3576,"data":3577,"content":3601},"embedded-asset-block",{"target":3578},{"metadata":3579,"sys":3582,"fields":3590},{"tags":3580,"concepts":3581},[],[],{"space":3583,"id":3585,"type":212,"createdAt":3586,"updatedAt":3587,"environment":3588,"publishedVersion":90,"revision":91,"locale":31},{"sys":3584},{"type":14,"linkType":15,"id":16},"36R7QvPyMRAHCxPedOh8N4","2025-12-02T12:18:18.913Z","2025-12-03T09:55:59.184Z",{"sys":3589},{"id":23,"type":14,"linkType":24},{"title":3591,"description":3592,"file":3593},"image-1-Thomas-Heatherwick-(photography-Thierry-Bal)","Thomas Heatherwick (photography: Thierry Bal)",{"url":3594,"details":3595,"fileName":3600,"contentType":228},"\u002F\u002Fimages.ctfassets.net\u002F2urh0izv0sep\u002F36R7QvPyMRAHCxPedOh8N4\u002F36c9272855e25dec499f54728e9ffdf2\u002Fimages-001.png",{"size":3596,"image":3597},1353702,{"width":3598,"height":3599},1485,1048,"images-001.png",[],{"nodeType":143,"data":3603,"content":3604},{},[3605,3610],{"nodeType":147,"value":3606,"marks":3607,"data":3609},"Tobias Berger: \n",[3608],{"type":290},{},{"nodeType":147,"value":3611,"marks":3612,"data":3613},"Let’s start with a Hong Kong project: Pacific Place re-opened about ten years ago, after four or five years of negotiation. It was an older, more generic shopping centre – and then Swire brought you in. What was your brief actually? ",[],{},{"nodeType":143,"data":3615,"content":3616},{},[3617,3622],{"nodeType":147,"value":3618,"marks":3619,"data":3621},"Thomas Heatherwick: \n",[3620],{"type":290},{},{"nodeType":147,"value":3623,"marks":3624,"data":3625},"Interestingly, the chief executive of Swire at the time had been there for 20 years, and he was instrumental in building Pacific Place in the beginning. He did something that was quite scary for me, because he said, ‘First, have you done a retail project before? No? Perfect. That’s what I want.’ He then said, ‘Look, I don’t know what we need. Maybe we just need a bit of new paving, but I would love for you to just come and look, and tell me what you think.’ So we came and spent a few days exploring. In a way, Pacific Place is like a small town, with all the complexity of how it relates to the mountainside that it’s built into, and its many floor levels that connect and stitch in the way that Hong Kong does – that lovely, almost hive-like complexity. It isn’t just buildings sitting on flat ground. ",[],{},{"nodeType":143,"data":3627,"content":3628},{},[3629],{"nodeType":147,"value":3630,"marks":3631,"data":3632},"At the end, he asked, ‘So what do you think?’ I knew in effect I had someone who was proud of what had been created, saying ‘What’s wrong, what’s with me and with what I've done?’ Now, the way we work is to analyse and see problems – and I see that not as a negative but a positive thing. Thus it was interesting needing to trust him and be frank with him about the things that we thought we could take to another level. ",[],{},{"nodeType":143,"data":3634,"content":3635},{},[3636],{"nodeType":147,"value":3637,"marks":3638,"data":3639},"Pacific Place had been very successful and was loved for its calm atmosphere. We realised we could make it even calmer – and bring together things that you might not have had the chance to do when you are building something for the first time. In the end, instead of just replacing some paving, we had a whole new identity – new buildings together with improvements in the ecological performance of the project. We built a new hotel that’s within what had been the loading bay, which became the Upper House – we designed the outside of that. ",[],{},{"nodeType":143,"data":3641,"content":3642},{},[3643],{"nodeType":147,"value":3644,"marks":3645,"data":3646},"I’m interested personally in the way that cities and governments used to build public space. After the Second World War, governments used to create the space for society to come together. Then, in many parts of the world, that went a bit wrong and cities lost their confidence. In a country like the UK, there used to be many architects within the planning departments. Now they’re all gone, and it is down to private developers to make the public world we live in. ",[],{},{"nodeType":143,"data":3648,"content":3649},{},[3650],{"nodeType":147,"value":3651,"marks":3652,"data":3653},"I know in the world of architecture, ‘culture buildings’ are fetishised – the opera houses, concert halls, and major national libraries. Yet for me, culture is everything around you: it’s the waste depot where you take your sofa or refrigerator to at the end of its life; it’s the hospitals, care homes, community centres...it’s the places where you buy your food and go for dinner with your family and so forth. ",[],{},{"nodeType":143,"data":3655,"content":3656},{},[3657],{"nodeType":147,"value":3658,"marks":3659,"data":3660},"So I felt that architecture shouldn’t be seen as the obvious arts buildings. It feels so obvious when you say, ‘Oh, it’s an arts building. Make it artistic.’ Well, some of the most loved buildings in London, in the UK, in Europe, are old industrial buildings – the equivalent of an IKEA shed from 180 years ago, so why can’t everyday buildings connect to us? ",[],{},{"nodeType":143,"data":3662,"content":3663},{},[3664],{"nodeType":147,"value":3665,"marks":3666,"data":3667},"Pacific Place was a place and a project, with an amazing commissioner who let us think about the emotion of users and how people come together. In the UK, you might think, ‘Ugh, a shopping mall!’ But in a subtropical climate where it’s too hot to be together outside for many months of the year, where do you come to go on a date if you’re a teenager? Where do you go in order to just be in public space and not cooped up in tiny apartments? Places like shopping malls are major public spaces for everybody – and people’s lives have been lived over the years through them. ",[],{},{"nodeType":143,"data":3669,"content":3670},{},[3671],{"nodeType":147,"value":3672,"marks":3673,"data":3674},"I’m therefore quite emotionally engaged and excited by the places where we live our lives. If cities aren’t making them anymore and developers are – special property developers, like the man who led Swire, who’s a friend – they also taught me so much about human behaviour. People who own land in the long term – not short-term building things, selling them, and getting rid of them – long-term people have to think about the whole of people’s lives, about real, deep, long-term value, and about how you use money in the most meaningful ways for us in society. ",[],{},{"nodeType":143,"data":3676,"content":3677},{},[3678],{"nodeType":147,"value":3679,"marks":3680,"data":3681},"I’m really interested in that chemistry and in the mix of things we do in the studio, and in that sense the Pacific Place project was very influential. ",[],{},{"nodeType":143,"data":3683,"content":3684},{},[3685],{"nodeType":147,"value":3686,"marks":3687,"data":3688},"When I ask anyone from Hong Kong about what they think of the Pacific Place project, they’ll say the toilets and the lift button. Things like that – and one might think, ‘What??!!’ ",[],{},{"nodeType":143,"data":3690,"content":3691},{},[3692],{"nodeType":147,"value":3693,"marks":3694,"data":3695},"When the project was first being built, the lifts and the toilets were the first bit to be finished. People would say, ‘Don’t worry about the toilets. We’ll do the toilets, and then you focus on the main thing.’ ",[],{},{"nodeType":143,"data":3697,"content":3698},{},[3699],{"nodeType":147,"value":3700,"marks":3701,"data":3702},"Yet I knew that toilets are a place unlike the main public spaces. Out there, often you are with a friend or walking around, and human nature is that when you are with someone – we are so funny, humans – we are actually thinking about what other people are thinking of us all the time. Thus you’re often not perceiving the environment because you are tuned into the other person. But when you go to the washroom, you are generally by yourself – and you are much more perceptive. So I thought: instead of an opera house, instead of an art museum, what if we put the same love that you would put into the toilet cubicles? ",[],{},{"nodeType":143,"data":3704,"content":3705},{},[3706,3710],{"nodeType":147,"value":3606,"marks":3707,"data":3709},[3708],{"type":290},{},{"nodeType":147,"value":3711,"marks":3712,"data":3713},"You revolutionised the toilets in Hong Kong. I don’t know if you’re aware of that, but they have been copied now in other shopping centres – it really changed how shopping malls perceived that place. ",[],{},{"nodeType":143,"data":3715,"content":3716},{},[3717,3721],{"nodeType":147,"value":3618,"marks":3718,"data":3720},[3719],{"type":290},{},{"nodeType":147,"value":3722,"marks":3723,"data":3724},"Well, if the effort is copied, I’m really thrilled. ",[],{},{"nodeType":143,"data":3726,"content":3727},{},[3728],{"nodeType":147,"value":3729,"marks":3730,"data":3731},"In Pacific Place, we were keen to soften the feeling – it had been very hard and sharp. We were torn because toilet cubicles need doors, doors have hinges, and hinges are not curved or soft. We were thinking we could make curved doors, but then thought we can’t have a curved door and then a sharp hinge. ",[],{},{"nodeType":3576,"data":3733,"content":3757},{"target":3734},{"metadata":3735,"sys":3738,"fields":3746},{"tags":3736,"concepts":3737},[],[],{"space":3739,"id":3741,"type":212,"createdAt":3742,"updatedAt":3743,"environment":3744,"publishedVersion":90,"revision":91,"locale":31},{"sys":3740},{"type":14,"linkType":15,"id":16},"16MiXLW46tXNmPYwlZw0IL","2025-12-02T12:18:18.960Z","2025-12-03T09:57:15.633Z",{"sys":3745},{"id":23,"type":14,"linkType":24},{"title":3747,"description":3748,"file":3749},"image-2-Pacific-Place-Hong-Kong-(image-courtesy-of-Heatherwick-Studio-photography-Iwan-Baan)","Pacific Place, Hong Kong (image courtesy of Heatherwick Studio; photography: Iwan Baan)",{"url":3750,"details":3751,"fileName":3756,"contentType":228},"\u002F\u002Fimages.ctfassets.net\u002F2urh0izv0sep\u002F16MiXLW46tXNmPYwlZw0IL\u002Fc9926129852835eef104a58b87801263\u002Fimages-002.png",{"size":3752,"image":3753},3185004,{"width":3754,"height":3755},1524,2095,"images-002.png",[],{"nodeType":143,"data":3759,"content":3760},{},[3761],{"nodeType":147,"value":3762,"marks":3763,"data":3764},"Emotionally it doesn’t feel right – like you’re faking something. Therefore, I thought, ‘Well, really, you want the wall to bend. Could we make a wall bend?’ It sounded so ridiculous. I remember presenting it to the chief executive who’s just an open person, and he agreed – provided we could get that to work. ",[],{},{"nodeType":143,"data":3766,"content":3767},{},[3768],{"nodeType":147,"value":3769,"marks":3770,"data":3771},"And so we did – we spent six months. ",[],{},{"nodeType":143,"data":3773,"content":3774},{},[3775],{"nodeType":147,"value":3776,"marks":3777,"data":3778},"One other thing that I was really happy and proud about – things which probably nobody notices much but they probably can feel – was on level four, at the drop-off arrival, where there are pavements with drop kerbs. We needed to follow regulations, certainly, but also because it’s the right thing: we needed drop kerbs, or the ability for the kerb to drop to road level so a wheelchair user can cross over parts of the road and be back on the pavement. ",[],{},{"nodeType":143,"data":3780,"content":3781},{},[3782],{"nodeType":147,"value":3783,"marks":3784,"data":3785},"Weirdly, the drop kerb was only invented a matter of decades ago, by a disability designer so that wheelchair users could use a city in a similar way to anyone. ",[],{},{"nodeType":3576,"data":3787,"content":3811},{"target":3788},{"metadata":3789,"sys":3792,"fields":3800},{"tags":3790,"concepts":3791},[],[],{"space":3793,"id":3795,"type":212,"createdAt":3796,"updatedAt":3797,"environment":3798,"publishedVersion":90,"revision":91,"locale":31},{"sys":3794},{"type":14,"linkType":15,"id":16},"3efCSGs0LnR7LbyUfrvrWN","2025-12-02T12:18:18.952Z","2025-12-03T09:57:11.130Z",{"sys":3799},{"id":23,"type":14,"linkType":24},{"title":3801,"description":3802,"file":3803},"image-3-Drop-Kerb-Upper-House-Pacific-Place-Hong-Kong-(image-courtesy-of-Heatherwick-Studio-photography-Iwan-Baan)","Drop Kerb, Upper House, Pacific Place, Hong Kong (image courtesy of Heatherwick Studio; photography: Iwan Baan)",{"url":3804,"details":3805,"fileName":3810,"contentType":228},"\u002F\u002Fimages.ctfassets.net\u002F2urh0izv0sep\u002F3efCSGs0LnR7LbyUfrvrWN\u002F3b77d1814d2560b9e4507b2686d98c64\u002Fimages-005.png",{"size":3806,"image":3807},756142,{"width":3808,"height":3809},859,550,"images-005.png",[],{"nodeType":143,"data":3813,"content":3814},{},[3815],{"nodeType":147,"value":3816,"marks":3817,"data":3818},"However, I always thought drop kerbs look like they wish they didn’t have to do what they do: you can see that they’ve angled the curve down so a wheelchair can go across, and then the kerb lifts up again. Instead, we were thinking of how we could put details that reinforce welcome. We proposed that the kerb comes along the pavement edge and twists down and then twists up – and there are only like nine drop kerbs in the project. They’re sculptural – and carved in Carrara, Italy. Just doing nine of them was not so expensive; instead of feeling like a broken kerb, it feels like the kerb is welcoming you. Something like that is almost invisible, but you can feel the calm because places normally have disjointed details. ",[],{},{"nodeType":143,"data":3820,"content":3821},{},[3822],{"nodeType":147,"value":3823,"marks":3824,"data":3825},"With Pacific Place, another detail were the handrails all around. No one has reinvented the escalator, you know: an escalator always has the steps that go up, come round, and come back down, and handrails that go round. Typically, you get a design for the handrail, and then there’s this round end. Normally you just chop it like a loaf of bread and push them against each other. Again, it’s jarring. ",[],{},{"nodeType":3576,"data":3827,"content":3851},{"target":3828},{"metadata":3829,"sys":3832,"fields":3840},{"tags":3830,"concepts":3831},[],[],{"space":3833,"id":3835,"type":212,"createdAt":3836,"updatedAt":3837,"environment":3838,"publishedVersion":90,"revision":91,"locale":31},{"sys":3834},{"type":14,"linkType":15,"id":16},"YP3weeX5AdRtBRvLMkswU","2025-12-02T12:18:18.947Z","2025-12-03T09:57:58.649Z",{"sys":3839},{"id":23,"type":14,"linkType":24},{"title":3841,"description":3842,"file":3843},"image-4-Azabudai-Hills-Roppongi-Tokyo-(image-courtesy-of-Heatherwick-Studio-photography-Raquel-Diniz)","Azabudai Hills, Roppongi, Tokyo (image courtesy of Heatherwick Studio; photography: Raquel Diniz)",{"url":3844,"details":3845,"fileName":3850,"contentType":228},"\u002F\u002Fimages.ctfassets.net\u002F2urh0izv0sep\u002FYP3weeX5AdRtBRvLMkswU\u002F157df7171d43276b6e5c53c9076f1dc3\u002Fimages-003.png",{"size":3846,"image":3847},1635338,{"width":3848,"height":3849},1192,644,"images-003.png",[],{"nodeType":143,"data":3853,"content":3854},{},[3855],{"nodeType":147,"value":3856,"marks":3857,"data":3858},"What we did was we made the balustrade that comes along and the wood as the same section as the rubber on the escalator, so the escalator shape influenced the balustrades everywhere else. The two come along and end at the same curve, and then one goes off to become handrail, and the other goes off to move again. It’s about calmness – and a version of minimalism – trying to make things feel they come through with the same energy. ",[],{},{"nodeType":143,"data":3860,"content":3861},{},[3862,3866],{"nodeType":147,"value":3606,"marks":3863,"data":3865},[3864],{"type":290},{},{"nodeType":147,"value":3867,"marks":3868,"data":3869},"Yet it needs a lot of detailing, research, and just understanding this situation. I’m quite interested about your research process: your projects like Azabudai Hills in Tokyo or Pacific Place in Hong Kong all have a landscape that is very much thought through – like the details we’re talking about. ",[],{},{"nodeType":143,"data":3871,"content":3872},{},[3873,3877],{"nodeType":147,"value":3618,"marks":3874,"data":3876},[3875],{"type":290},{},{"nodeType":147,"value":3878,"marks":3879,"data":3880},"We have a landscape team in the studio because I’ve learned over my 31 years of having the studio that more than ever, you can’t separate how a building is an object and how a building is part of a tapestry of streets and the surrounding landscape – and how you stitch those two together. ",[],{},{"nodeType":143,"data":3882,"content":3883},{},[3884],{"nodeType":147,"value":3885,"marks":3886,"data":3887},"The first thing you see is landscape, not building. I’ve been equally interested in trying to soften the hardness of buildings – because buildings worth doing by the construction industry need to be big these days, and you don’t get small buildings in general anymore unless it’s someone’s private home. ",[],{},{"nodeType":143,"data":3889,"content":3890},{},[3891],{"nodeType":147,"value":3892,"marks":3893,"data":3894},"The real changes of cities are done at a big scale, with the challenges of bigness. Within all my projects, I’m working to counteract the inhuman factors that bigness throws up: too much monotony, too much repetition, and an absence of visual complexity necessary to feel nourished. ",[],{},{"nodeType":143,"data":3896,"content":3897},{},[3898],{"nodeType":147,"value":3899,"marks":3900,"data":3901},"The integration of nature is one way to create more visual engagement and a diversity of fascination for somebody visiting. From a research point of view, our processes begin as we start, through conversation, and we try to fully understand the site and the needs of a particular project. Furthermore, the person who’s commissioning you is normally an absolute expert at many things to do with the project you were about to do. ",[],{},{"nodeType":143,"data":3903,"content":3904},{},[3905,3909,3914,3918,3923],{"nodeType":147,"value":3906,"marks":3907,"data":3908},"Thus we try to learn from ",[],{},{"nodeType":147,"value":3910,"marks":3911,"data":3913},"them ",[3912],{"type":808},{},{"nodeType":147,"value":3915,"marks":3916,"data":3917},"and understand everything that’s on their mind. We can seem as if we are the authors, but really, ",[],{},{"nodeType":147,"value":3919,"marks":3920,"data":3922},"they",[3921],{"type":808},{},{"nodeType":147,"value":3924,"marks":3925,"data":3926}," are – we are a tool to achieve their outcome. Normally, they have a very strong sense of what something should be or shouldn’t be, while our process is very exploratory: we try lots of things, gradually narrowing down and eliminating from our inquiries things that don’t feel quite right. In no way is this a sole authorship mindset. ",[],{},{"nodeType":143,"data":3928,"content":3929},{},[3930],{"nodeType":147,"value":3931,"marks":3932,"data":3933},"At the root of much of what the studio does is a belief in functionalism – but when we say ‘function’, emotion is also a key function. We have had places that claim to be functional but don’t function on an emotional level. Given that buildings are predominantly for humans, it’s not a functional building if society doesn’t care. ",[],{},{"nodeType":143,"data":3935,"content":3936},{},[3937],{"nodeType":147,"value":3938,"marks":3939,"data":3940},"We try to analyse our own responses to a place and to see it through our pre-designer self – almost tuning back to your inner eleven-year-old, which we all have, thinking of how they see and feel the world, how they wonder things they wonder about, and what they are confused about when they look and can’t figure out ‘why did somebody do that?’. ",[],{},{"nodeType":3576,"data":3942,"content":3966},{"target":3943},{"metadata":3944,"sys":3947,"fields":3955},{"tags":3945,"concepts":3946},[],[],{"space":3948,"id":3950,"type":212,"createdAt":3951,"updatedAt":3952,"environment":3953,"publishedVersion":90,"revision":91,"locale":31},{"sys":3949},{"type":14,"linkType":15,"id":16},"5wNQiOjThir9l6vmpZq0yd","2025-12-02T12:18:18.956Z","2025-12-03T10:17:49.128Z",{"sys":3954},{"id":23,"type":14,"linkType":24},{"title":3956,"description":3957,"file":3958},"image-5-Cloud-Canopy-Azabudai-Hills-Roppongi-Tokyo-(image-courtesy-of-Heatherwick-Studio-photography-Raquel-Diniz)","Cloud Canopy, Azabudai Hills, Roppongi, Tokyo (image courtesy of Heatherwick Studio; photography: Raquel Diniz)",{"url":3959,"details":3960,"fileName":3965,"contentType":228},"\u002F\u002Fimages.ctfassets.net\u002F2urh0izv0sep\u002F5wNQiOjThir9l6vmpZq0yd\u002F1b357a1d6e6d9630cfe0637b0b1d3ede\u002Fimages-004.png",{"size":3961,"image":3962},3163207,{"width":3963,"height":3964},1173,1707,"images-004.png",[],{"nodeType":143,"data":3968,"content":3969},{},[3970],{"nodeType":147,"value":3971,"marks":3972,"data":3973},"We look both through a professional lens but also try to put ourselves in the shoes of a passer-by. We have been developing that muscle – which often is lost as people professionalise. Inadvertently, it’s easy to become part of an echo chamber that thinks sees itself as right and that isn’t constantly double- checking: ‘Hang on, what would an eleven year old think? Forget what we all think is clever – how would somebody new to this respond?’ ",[],{},{"nodeType":143,"data":3975,"content":3976},{},[3977],{"nodeType":147,"value":3978,"marks":3979,"data":3980},"Not that you can make everybody happy – but some buildings and places make almost everybody unhappy! Still, we need to be much better at tuning into how we can make places that are at least engaging and not boring people. It’s a funny word, ‘bore’, but we talk too much about beauty. There are places I love that are certainly not beautiful, but they are engaging and fascinating. ",[],{},{"nodeType":143,"data":3982,"content":3983},{},[3984],{"nodeType":147,"value":3985,"marks":3986,"data":3987},"The characterisation of what society needs is everything to be beautiful – I don’t fully buy into that – but I think we do need places to be engaging and have the potential to be interesting to us in multiple ways. ",[],{},{"nodeType":143,"data":3989,"content":3990},{},[3991,3995],{"nodeType":147,"value":3606,"marks":3992,"data":3994},[3993],{"type":290},{},{"nodeType":147,"value":3996,"marks":3997,"data":3998},"And do you think that there’s a difference between doing that in the Western context and in Asia, with a different idea of public space, social systems, and so forth, as many of your early projects were in Asia? ",[],{},{"nodeType":143,"data":4000,"content":4001},{},[4002,4006],{"nodeType":147,"value":3618,"marks":4003,"data":4005},[4004],{"type":290},{},{"nodeType":147,"value":4007,"marks":4008,"data":4009},"All over the world, we have a universal thirst and hunger for places that are generous to people and to society. I believe we’ve been undersupplied with places that feel welcoming and open – that feel inviting even if you don’t work or live there. ",[],{},{"nodeType":143,"data":4011,"content":4012},{},[4013],{"nodeType":147,"value":4014,"marks":4015,"data":4016},"I got interested in the word ‘passer-by’ because I feel we’ve neglected them. We have people talk in the construction industry about our ‘clients’ all the time, as if that’s the only people you are making happy – and forget that we also have this other client that’s called society, the ‘passer-by’ who will never go inside what you do. ",[],{},{"nodeType":3576,"data":4018,"content":4042},{"target":4019},{"metadata":4020,"sys":4023,"fields":4031},{"tags":4021,"concepts":4022},[],[],{"space":4024,"id":4026,"type":212,"createdAt":4027,"updatedAt":4028,"environment":4029,"publishedVersion":90,"revision":91,"locale":31},{"sys":4025},{"type":14,"linkType":15,"id":16},"3VC3sLJHQ3jGwKpiCuabXw","2025-12-02T12:18:18.941Z","2025-12-03T09:59:52.654Z",{"sys":4030},{"id":23,"type":14,"linkType":24},{"title":4032,"description":4033,"file":4034},"image-6-Learning-Hub-Nanyang-Technological-University-Singapore-(image-courtesy-of-Heatherwick-Studio-photography-Hufton-and-Crow)","Learning Hub, Nanyang Technological University, Singapore\n(image courtesy of Heatherwick Studio; photography: Hufton and Crow)",{"url":4035,"details":4036,"fileName":4041,"contentType":228},"\u002F\u002Fimages.ctfassets.net\u002F2urh0izv0sep\u002F3VC3sLJHQ3jGwKpiCuabXw\u002F9f1258cdcfa4037fb31c5ce376218f02\u002Fimages-006.png",{"size":4037,"image":4038},4417976,{"width":4039,"height":4040},1390,1733,"images-006.png",[],{"nodeType":143,"data":4044,"content":4045},{},[4046],{"nodeType":147,"value":4047,"marks":4048,"data":4049},"I also have a deep belief that we have these eight billion people on the planet where every single one thinks they’re special. In a sense, we are all special. Obviously, there’s a paradox: if there’s 8 billion of us, are we special? ",[],{},{"nodeType":143,"data":4051,"content":4052},{},[4053],{"nodeType":147,"value":4054,"marks":4055,"data":4056},"There are so many places that treat us as if we are not special. When you work on a project, you need to affirm to people their own uniqueness somehow. ",[],{},{"nodeType":143,"data":4058,"content":4059},{},[4060],{"nodeType":147,"value":4061,"marks":4062,"data":4063},"We’re both unique and phenomenally similar – those two things coexist. So I think that there are universal similarities across us all over the world. ",[],{},{"nodeType":143,"data":4065,"content":4066},{},[4067],{"nodeType":147,"value":4068,"marks":4069,"data":4070},"For me, it’s hard to differentiate real differences in mindsets in Europe versus North America or Asia. Yet I find there is much more receptiveness from governments and development teams elsewhere, openness to ideas that are more unexpected, and understanding why something matters – and it isn’t vanity. We’ve got a whole lexicon of put-downs for projects that are ambitious, as well as delusions of sophistication that, I think, are understandable in a cultural cycle that we are in in Europe as a much older modernised culture, but act against us in making us think that we have the answers more than we really do. ",[],{},{"nodeType":143,"data":4072,"content":4073},{},[4074],{"nodeType":147,"value":4075,"marks":4076,"data":4077},"I think that the ambitiousness and hunger that I’ve experienced in Asia has allowed us to make projects that push forward. ",[],{},{"nodeType":143,"data":4079,"content":4080},{},[4081],{"nodeType":147,"value":4082,"marks":4083,"data":4084},"The simplest example is the Seed Cathedral, the UK Pavilion at the 2010 World Expo in Shanghai, where we had half the budget of the other Western nations. The British government was terrified that what we were doing would not be understood by a Chinese audience because it was not showing castles, queens, Sherlock Holmes – not trotting out clichés but showing something even British people haven’t seen, which is a major chunk of the Millennium Seed Bank collection. ",[],{},{"nodeType":143,"data":4086,"content":4087},{},[4088],{"nodeType":147,"value":4089,"marks":4090,"data":4091},"The Seed Cathedral won the top prize at the Expo. One of the smallest pavilions, it was a strategic use of the money. It was interesting arguing to the British government that what they thought was risky was the safest thing we could do – because if we made something that was cheesy and clichéd when a visitor was choosing which of the 250 pavilions to spend three hours queuing up for, they’re not going to pick the ones that are predictable. ",[],{},{"nodeType":143,"data":4093,"content":4094},{},[4095],{"nodeType":147,"value":4096,"marks":4097,"data":4098},"There are universal truths, which is that we as people are all hungry for things that have an authenticity, that strive to push forward society, have invention and progress, and relate to our worlds in new ways that feel meaningful. ",[],{},{"nodeType":143,"data":4100,"content":4101},{},[4102],{"nodeType":147,"value":4103,"marks":4104,"data":4105},"Our yanking back of ambition that we inadvertently do in Europe is a shame because it acts against us. Things we change and protect are the projects that have come out from the ambition and confidence of the past. Thus cultural confidence is something that is so precious – and has been growing and growing in Asia and diminishing in a European context, which is self-defeating. ",[],{},{"nodeType":143,"data":4107,"content":4108},{},[4109,4114],{"nodeType":147,"value":4110,"marks":4111,"data":4113},"Daniel Szehin Ho: ",[4112],{"type":290},{},{"nodeType":147,"value":4115,"marks":4116,"data":4117},"\nYou were mentioning ‘bigness’, and I would ask you about towers and podiums. Dense cities in much of Asia have this development model of towers – sometimes engaging, but often there is a certain boredom to them, repetitive as ‘machines for living’. There’s a podium and then a tower, and while there are many ways a podium can connect better with the street level, how would there be ways to think about the tower? You have taken different approaches with Azabudai Hills in Tokyo and 1000 Trees in Shanghai. Is that a way going forward – beyond the intensity and repetition of numerous towers over a podium? ",[],{},{"nodeType":143,"data":4119,"content":4120},{},[4121,4125],{"nodeType":147,"value":3618,"marks":4122,"data":4124},[4123],{"type":290},{},{"nodeType":147,"value":4126,"marks":4127,"data":4128},"I’m interested in how we get the necessary density in cities in order to have enough street life – which in turn sustains streets that demand less car use. So the need for not only smaller buildings but taller buildings matters, especially now that we need fewer shops as more things are purchased online. Our streets become dangerous if we don’t have them alive – and shops were one of the main ways to bring life to streets. ",[],{},{"nodeType":143,"data":4130,"content":4131},{},[4132],{"nodeType":147,"value":4133,"marks":4134,"data":4135},"The streets are scary when people aren’t there. We’ve got this funny paradox again, because you imagine people are the scary things when it’s absence that scares people. ",[],{},{"nodeType":143,"data":4137,"content":4138},{},[4139],{"nodeType":147,"value":4140,"marks":4141,"data":4142},"Towers are quite the glamorous thing; they feel like something that needs strong design, while much less glamorous is your street experience. We have very little expertise in general in the construction industry and in the design side of how we would make streets alive if you don’t have so many shops. ",[],{},{"nodeType":143,"data":4144,"content":4145},{},[4146],{"nodeType":147,"value":4147,"marks":4148,"data":4149},"I’m trying to look at this slightly difficult question differently. Partly because in London it’s one of the questions I often get asked, as one of the public figures involved in architecture: ‘What do I think about towers?’. And I keep saying: don’t worry about towers as much. Hong Kong taught me that tall buildings can be fine. The challenges are at the bottom. In an area like Sheung Wan or Wan Chai, there are some really tall buildings, but at the street level, you get enough change and diversity on the street, especially with the chopstick towers – the slim towers. In general, new towers, when not in such precious land as Hong Kong, are fatter; with those fat towers, you get to the street level and all you experience is a dead lobby. You can see that somewhere behind the glass is a marble reception desk – and maybe there’s an artwork so that they seem sophisticated to the clients, but it offers you nothing. It’s not a giver – it’s not fascinating, it’s not generous. It’s got the same door handles as every other office building; there’s nothing to catch your eye. ",[],{},{"nodeType":3576,"data":4151,"content":4174},{"target":4152},{"metadata":4153,"sys":4156,"fields":4164},{"tags":4154,"concepts":4155},[],[],{"space":4157,"id":4159,"type":212,"createdAt":4160,"updatedAt":4161,"environment":4162,"publishedVersion":90,"revision":91,"locale":31},{"sys":4158},{"type":14,"linkType":15,"id":16},"7ph5mHlmoKjyBBoV0lpYRR","2025-12-02T12:18:18.944Z","2025-12-03T09:59:58.946Z",{"sys":4163},{"id":23,"type":14,"linkType":24},{"title":4165,"description":4033,"file":4166},"image-7-Learning-Hub-Nanyang-Technological-University-Singapore-(image-courtesy-of-Heatherwick-Studio-photography-Hufton-and-Crow)",{"url":4167,"details":4168,"fileName":4173,"contentType":228},"\u002F\u002Fimages.ctfassets.net\u002F2urh0izv0sep\u002F7ph5mHlmoKjyBBoV0lpYRR\u002Fe31b69be7f5349e64a336f98f323dcc5\u002Fimages-007.png",{"size":4169,"image":4170},1416019,{"width":4171,"height":4172},958,835,"images-007.png",[],{"nodeType":143,"data":4176,"content":4177},{},[4178],{"nodeType":147,"value":4179,"marks":4180,"data":4181},"As someone interested in what purity is, the idea of a tower needing no podium and just shooting down onto the street has total clarity and sounds clean. The stereotype of the cheesy podium with a shopping mall, and then cheesy towers sticking off that, is embedded in our heads. ",[],{},{"nodeType":143,"data":4183,"content":4184},{},[4185],{"nodeType":147,"value":4186,"marks":4187,"data":4188},"Human perception is interesting, however – and this is borne out in a few of our recent projects. When you really look at how people experience life on the street level, we don’t really look up as much as we think we do. We really experience the first 40 feet, as we phrased it in our master planning work in San Jose. That’s where your main perception is. ",[],{},{"nodeType":143,"data":4190,"content":4191},{},[4192],{"nodeType":147,"value":4193,"marks":4194,"data":4195},"Thus if you are putting love, care, and money into the experience for society, I believe it’s better to put your money into that first 40 feet, because that is where there are places that are deeply unoriginal, deeply mean, too large, repetitive, boring, and unengaging for an eleven year old who never is going to go into that apartment or office building. How do you make that place somewhere a person feels safe chatting to a friend – and not feel they might be robbed? ",[],{},{"nodeType":143,"data":4197,"content":4198},{},[4199,4203,4208],{"nodeType":147,"value":4200,"marks":4201,"data":4202},"So I’ve come round to podiums – even though I never thought I would think podiums as a thing that you could care about. I actually see you can’t throw money equally everywhere on projects. How do you find a way forward, then? Some of the buildings from the 1920s and 1930s that I love – and there are examples in North America, in some of the main cities – had towers that really do come all the way down and they aren’t podiums. There’s extra enrichment and fascination, with details, care, and craftsmanship in the doorways, windows, and at the bottom. Then they gradually diminish: from approximately 40 feet upwards, you get a very simple tower – at the top, there’s a bit more love and care. In terms of priorities: I really think that we don’t do enough surveys in order to understand what the public truly notices and feels about places. Yes, we survey people inside buildings, but I find it fairly ludicrous that the best design and architecture firms will proudly say they do post-occupancy surveys, and it turns out they ask questions to understand how the building is really used afterwards ",[],{},{"nodeType":147,"value":4204,"marks":4205,"data":4207},"only ",[4206],{"type":808},{},{"nodeType":147,"value":4209,"marks":4210,"data":4211},"from the users of the building, and not anyone who is just a passer-by. ",[],{},{"nodeType":3576,"data":4213,"content":4237},{"target":4214},{"metadata":4215,"sys":4218,"fields":4226},{"tags":4216,"concepts":4217},[],[],{"space":4219,"id":4221,"type":212,"createdAt":4222,"updatedAt":4223,"environment":4224,"publishedVersion":90,"revision":91,"locale":31},{"sys":4220},{"type":14,"linkType":15,"id":16},"1Taes9g7M1ncCJujdyGHCl","2025-12-02T12:18:18.938Z","2025-12-03T10:00:07.588Z",{"sys":4225},{"id":23,"type":14,"linkType":24},{"title":4227,"description":4228,"file":4229},"image-8-Learning-Hub-Plan-(image-courtesy-of-Heatherwick-Studio)","Learning Hub Plan (image courtesy of Heatherwick Studio)",{"url":4230,"details":4231,"fileName":4236,"contentType":228},"\u002F\u002Fimages.ctfassets.net\u002F2urh0izv0sep\u002F1Taes9g7M1ncCJujdyGHCl\u002F3666e76dcc7e5e3ede207e06fcad7fc9\u002Fimage-8-Learning-Hub-Plan-_image-courtesy-of-Heatherwick-Studio_.png",{"size":4232,"image":4233},329616,{"width":4234,"height":4235},865,947,"image-8-Learning-Hub-Plan-(image-courtesy-of-Heatherwick-Studio).png",[],{"nodeType":143,"data":4239,"content":4240},{},[4241],{"nodeType":147,"value":4242,"marks":4243,"data":4244},"How do you define users of the building in general? The users of a brand-new building are very lucky people. In almost every new building I go into, the daylight is pretty good; the ceiling height is pretty good; the lobby is pretty good. But are we even interested in the experience for an eleven year old or an elderly lady walking past? Did we actually measure whether they felt that you as an architect contributed something to society on the walls of public life? ",[],{},{"nodeType":143,"data":4246,"content":4247},{},[4248,4252,4257],{"nodeType":147,"value":4249,"marks":4250,"data":4251},"These walls of public life are to me the neglected part – and such an opportunity. I know that people who study architecture really care. That’s why they chose a very long period of education and less pay than if you went off and became a banker or so many other professions. But inadvertently in the construction industry, without realising it, people stopped caring. If you really ask them, underneath all this they ",[],{},{"nodeType":147,"value":4253,"marks":4254,"data":4256},"do ",[4255],{"type":808},{},{"nodeType":147,"value":4258,"marks":4259,"data":4260},"care – but the echo chambers and bubbles make us spin off and stop looking the impact of what we do. ",[],{},{"nodeType":143,"data":4262,"content":4263},{},[4264,4268],{"nodeType":147,"value":3606,"marks":4265,"data":4267},[4266],{"type":290},{},{"nodeType":147,"value":4269,"marks":4270,"data":4271},"Your buildings are so much more than just buildings, right? You think about how people move in them, and you talk a lot about emotion. With The Hive (Learning Hub South) at the NTU (Nanyang Technological University) in Singapore, you even made it open. Do you think that architects and designers should have much more involvement in how these buildings function and work in day-to-day life? ",[],{},{"nodeType":143,"data":4273,"content":4274},{},[4275,4279],{"nodeType":147,"value":3618,"marks":4276,"data":4278},[4277],{"type":290},{},{"nodeType":147,"value":4280,"marks":4281,"data":4282},"Well, I’ve come to realise that the pressure on architectural teams is massive. Your question is in relation to budget, getting commissions, regulations, safety, and then communication across many consultants, and your ability to inspire cities and property developers – it’s very difficult role. So it’s easy to pile more jobs on – but we do think that in our architectural realm, we are not communicating with the public enough. If the public are more involved, they will talk to us and back us up. What they’ll be saying is this: make places more generous, make places more interesting for all of us, not just the lucky people who are inside. ",[],{},{"nodeType":143,"data":4284,"content":4285},{},[4286],{"nodeType":147,"value":4287,"marks":4288,"data":4289},"The more the public are not treated as if they’re ignorant and stupid – which is a weird mindset that some aspects of the profession have got into – the public will move from an embattled desperate position to useful backup, I believe. After all, they’re not going to say to property developers and local authorities, ‘Oh, could you make more boring places?’ Architects want to do interesting things, but it’s actually that the industry gets away with making boring places because society hasn’t got a voice. They think it’s like emperor’s new clothes.",[],{},{"nodeType":143,"data":4291,"content":4292},{},[4293],{"nodeType":147,"value":4294,"marks":4295,"data":4296},"That’s why so many people are so desperate, particularly in the UK, and just wonder, ‘Well, can we just copy the past?’ That doesn’t mean they only love old buildings. It’s because that’s something you can point to that you could describe as characterful and soulful in some way – but I don’t believe you have to copy the past. ",[],{},{"nodeType":143,"data":4298,"content":4299},{},[4300],{"nodeType":147,"value":4301,"marks":4302,"data":4303},"You can make good projects that have texture, character, and emotion without copying the past. For instance, if you ask the public what their favourite building is, they will say many modern buildings, not just old ones. Don’t be scared of the public, I say. I feel we’re scared somehow that the public will just say they want silly stuff, but I don’t believe that’s true. ",[],{},{"nodeType":3576,"data":4305,"content":4329},{"target":4306},{"metadata":4307,"sys":4310,"fields":4318},{"tags":4308,"concepts":4309},[],[],{"space":4311,"id":4313,"type":212,"createdAt":4314,"updatedAt":4315,"environment":4316,"publishedVersion":90,"revision":91,"locale":31},{"sys":4312},{"type":14,"linkType":15,"id":16},"7jnjvgRGCJRgjHtzYDYIGU","2025-12-02T12:18:18.924Z","2025-12-03T10:04:54.506Z",{"sys":4317},{"id":23,"type":14,"linkType":24},{"title":4319,"description":4320,"file":4321},"image-9-1000-Trees-Shanghai-(image-courtesy-of-Heatherwick-Studio-photography-Qingyan-Zhu)","1000 Trees, Shanghai (image courtesy of Heatherwick Studio; photography: Qingyan Zhu)",{"url":4322,"details":4323,"fileName":4328,"contentType":228},"\u002F\u002Fimages.ctfassets.net\u002F2urh0izv0sep\u002F7jnjvgRGCJRgjHtzYDYIGU\u002F1ce77d9e102b6051fa98b006c21a090c\u002Fimages-008.png",{"size":4324,"image":4325},11159588,{"width":4326,"height":4327},2726,3612,"images-008.png",[],{"nodeType":143,"data":4331,"content":4332},{},[4333,4338],{"nodeType":147,"value":4334,"marks":4335,"data":4337},"Daniel Szehin Ho: \n",[4336],{"type":290},{},{"nodeType":147,"value":4339,"marks":4340,"data":4341},"When you talk about ‘city level’, ‘street level’, ‘door level’, one gets the sense you bring a design mindset in thinking about the overall conditions – on some levels it’s really like urban planning, right? ",[],{},{"nodeType":143,"data":4343,"content":4344},{},[4345,4349],{"nodeType":147,"value":3618,"marks":4346,"data":4348},[4347],{"type":290},{},{"nodeType":147,"value":4350,"marks":4351,"data":4352},"In our work, we are getting chances to design districts. Last year, we did last year a six and a half million square foot development. The Azabudai Hills project is of a significant scale, and we are working on a number of major district projects, where you are needing to think at the largest city distance, street distance, door distance. ",[],{},{"nodeType":143,"data":4354,"content":4355},{},[4356],{"nodeType":147,"value":4357,"marks":4358,"data":4359},"I’ve always found master planning a funny thing because I’ve seen so many places where they’d say this is a good master plan – yet if you make boring buildings in a good master plan, it’d still feel soulless. You are torn: is it better to have engaging, soulful, textured buildings in a bad master plan? It probably is, because we humans are incredibly adaptable. We work in and around things, whereas there is room for much more legislation and policy that advocates for fascination and absence of boredom. When we talk about beauty, it feels like very subjective – and we can protect ourselves by saying that we can’t have a conversation about beauty with people. ",[],{},{"nodeType":143,"data":4361,"content":4362},{},[4363],{"nodeType":147,"value":4364,"marks":4365,"data":4366},"Boredom isn’t entirely subjective. When you do surveys with the public, find that over 90% of people all agree what boring is. In the Humanise campaign and the book we wrote, it’s really not about advocating that buildings should be all curvy, or all square, or old-fashioned or cyber, or all covered in trees. I don’t really mind any way, but I do believe that society needs buildings to offer more visual nutrition. ",[],{},{"nodeType":143,"data":4368,"content":4369},{},[4370],{"nodeType":147,"value":4371,"marks":4372,"data":4373},"We are now learning as we are starting to understand our brains more that our brains need visual complexity. Every few seconds, we need millions of bits of information. If you starve the brain of that visual complexity in the public context, you go into stress. It’s weird. ",[],{},{"nodeType":143,"data":4375,"content":4376},{},[4377],{"nodeType":147,"value":4378,"marks":4379,"data":4380},"You imagine that less means calm, but in streets it doesn’t. In our streets and cities, with less, with monotony or endless shiny, serious, smooth, plain environments, your body goes into stress. Your level of cortisol rises and that’s what there is starting to be some research – which is ridiculous for an industry that is as big as oil and gas, to be only beginning to measure its real impact on society. ",[],{},{"nodeType":143,"data":4382,"content":4383},{},[4384],{"nodeType":147,"value":4385,"marks":4386,"data":4387},"We’re in a very exciting time. I hope it will lead to what will support millions of designers, urbanists, and architects who want to do good things, who feel that the pressure on them to be cost-effective. ",[],{},{"nodeType":143,"data":4389,"content":4390},{},[4391],{"nodeType":147,"value":4392,"marks":4393,"data":4394},"Society says: spend a little bit more to make your building well insulated, and spend a little bit more to generate alternative forms of energy to have a low-carbon building. Yet we don’t have equivalents for visual engagement because there’s no public conversation about how your building is generous to society – as a wall of public life. ",[],{},{"nodeType":143,"data":4396,"content":4397},{},[4398],{"nodeType":147,"value":4399,"marks":4400,"data":4401},"People say, ‘Oh, a sense of place matters.’ That normally tends to mean sculptures or trees outside boring buildings – and that matters a lot, too. But the full picture is all of these. You can’t ignore the gigantic walls of public life that are the surfaces of buildings, and somehow we are in denial of something that’s very simple. ",[],{},{"nodeType":143,"data":4403,"content":4404},{},[4405,4409],{"nodeType":147,"value":4110,"marks":4406,"data":4408},[4407],{"type":290},{},{"nodeType":147,"value":4410,"marks":4411,"data":4412},"\nYour pointing out the difference between beauty and boredom is helpful, because sometimes in Asia – I’m thinking of Hong Kong, maybe also Bangkok – on the street level there are parts I wouldn’t call beautiful, but very engaging in a weird, interesting way. ",[],{},{"nodeType":143,"data":4414,"content":4415},{},[4416,4420],{"nodeType":147,"value":3618,"marks":4417,"data":4419},[4418],{"type":290},{},{"nodeType":147,"value":4421,"marks":4422,"data":4423},"Like Sheung Wan, it can be positively stinky! You walk along, seeing all the dried fish everywhere – but it is joyful and it really makes you feel alive to be there. You wouldn’t necessarily say it’s beautiful, but it’s one of my favourite places in the world! There’s less fish drying now but it’s still got texture, and that fascination is necessary if we are going to make places that we care about, so that we do not knock them down all the time. ",[],{},{"nodeType":143,"data":4425,"content":4426},{},[4427],{"nodeType":147,"value":4428,"marks":4429,"data":4430},"Your readers and listeners may be there thinking, ‘Oh, you’re just trying to make everything nice – that’s not really the biggest, most pressing issue of our time.’ ",[],{},{"nodeType":143,"data":4432,"content":4433},{},[4434],{"nodeType":147,"value":4435,"marks":4436,"data":4437},"I understand someone saying that. However, our dirty secret in the industry is the carbon involved in making buildings. The carbon from flying that society talks about amounts to about 2.1% of greenhouse gas emissions. But construction – constructing boring buildings, knocking them down, building more boring buildings – is five times that and we don’t talk enough about it. ",[],{},{"nodeType":143,"data":4439,"content":4440},{},[4441],{"nodeType":147,"value":4442,"marks":4443,"data":4444},"The part I find quite uplifting is that you suddenly realise sustainability ultimately comes down to love; it isn’t a metric in a conventional way. What really sustains things is if people care about it – and want to repair, adjust, and adapt it. ",[],{},{"nodeType":143,"data":4446,"content":4447},{},[4448],{"nodeType":147,"value":4449,"marks":4450,"data":4452},"Tobias Berger gestures at the model of a London double-decker bus inside Heatherwick Studio. ",[4451],{"type":808},{},{"nodeType":3576,"data":4454,"content":4478},{"target":4455},{"metadata":4456,"sys":4459,"fields":4467},{"tags":4457,"concepts":4458},[],[],{"space":4460,"id":4462,"type":212,"createdAt":4463,"updatedAt":4464,"environment":4465,"publishedVersion":90,"revision":91,"locale":31},{"sys":4461},{"type":14,"linkType":15,"id":16},"3eeygD6Wz7juqxD0xcGQXx","2025-12-02T12:18:26.606Z","2025-12-03T10:04:55.604Z",{"sys":4466},{"id":23,"type":14,"linkType":24},{"title":4468,"description":4469,"file":4470},"image-10-Thomas-Heatherwick-Tobias-Berger-and-Daniel-Szehin-Ho-right-to-left-photography-Thierry-Bal","Thomas Heatherwick, Tobias Berger, and Daniel Szehin Ho (right to left; photography: Thierry Bal)\n",{"url":4471,"details":4472,"fileName":4477,"contentType":228},"\u002F\u002Fimages.ctfassets.net\u002F2urh0izv0sep\u002F3eeygD6Wz7juqxD0xcGQXx\u002Fcdb7fc4eb4a4f57665d6abcad63a5e05\u002Fimages-009.png",{"size":4473,"image":4474},2099000,{"width":4475,"height":4476},1590,1009,"images-009.png",[],{"nodeType":143,"data":4480,"content":4481},{},[4482,4486],{"nodeType":147,"value":3606,"marks":4483,"data":4485},[4484],{"type":290},{},{"nodeType":147,"value":4487,"marks":4488,"data":4489},"I haven’t taken a London double-decker bus. And Hong Kong, of course, has these amazing double-decker trams that I take all the time. ",[],{},{"nodeType":143,"data":4491,"content":4492},{},[4493,4498],{"nodeType":147,"value":4494,"marks":4495,"data":4497},"Thomas Heatherwick: ",[4496],{"type":290},{},{"nodeType":147,"value":4499,"marks":4500,"data":4501},"\nThose were an inspiration for us while working on the London buses. ",[],{},{"nodeType":143,"data":4503,"content":4504},{},[4505],{"nodeType":147,"value":4506,"marks":4507,"data":4508},"The Hong Kong trams have two staircases; your old buses in London only ever had one. In Hong Kong, you have this tiny tram, you have two staircases, and you use them. It proved to me that you can create something that’s soulful, even in a tiny space. ",[],{},{"nodeType":143,"data":4510,"content":4511},{},[4512],{"nodeType":147,"value":4513,"marks":4514,"data":4515},"Then there is the use of wood, metal, the sliding windows...the seeming impossibility, structurally speaking. When you stand back and look at them, you think: where are the wheels? And then you think, how do they stay up? Especially because there are typhoons in Hong Kong...To me, they are just wonderful and I hope that they’ll never stop running. ",[],{},{"nodeType":3576,"data":4517,"content":4541},{"target":4518},{"metadata":4519,"sys":4522,"fields":4530},{"tags":4520,"concepts":4521},[],[],{"space":4523,"id":4525,"type":212,"createdAt":4526,"updatedAt":4527,"environment":4528,"publishedVersion":90,"revision":91,"locale":31},{"sys":4524},{"type":14,"linkType":15,"id":16},"1F7IVXEsP1Cmexu5rWeHmF","2025-12-02T12:18:18.934Z","2025-12-03T10:00:21.329Z",{"sys":4529},{"id":23,"type":14,"linkType":24},{"title":4531,"description":4532,"file":4533},"image-11-New-Bus-for-London-(image-courtesy-of-Heatherwick-Studio-photography-Iwan-Baan)","New Bus for London (image courtesy of Heatherwick Studio; photography: Iwan Baan)",{"url":4534,"details":4535,"fileName":4540,"contentType":228},"\u002F\u002Fimages.ctfassets.net\u002F2urh0izv0sep\u002F1F7IVXEsP1Cmexu5rWeHmF\u002F67563775393570bf0b33f816b9a0ddd1\u002Fimages-010.png",{"size":4536,"image":4537},1960881,{"width":4538,"height":4539},1307,1063,"images-010.png",[],{"nodeType":143,"data":4543,"content":4544},{},[4545,4550],{"nodeType":147,"value":4546,"marks":4547,"data":4549},"Tobias Berger: ",[4548],{"type":290},{},{"nodeType":147,"value":4551,"marks":4552,"data":4553},"\nNo, they won’t let them stop – the star ferries, and the ding dings – they are just too much part of Hong Kong. Changing the topic a bit: are there any projects in Asia you are looking forward to? Like what’s an ideal project in Asia? A city? A tower? ",[],{},{"nodeType":143,"data":4555,"content":4556},{},[4557,4561],{"nodeType":147,"value":4494,"marks":4558,"data":4560},[4559],{"type":290},{},{"nodeType":147,"value":4562,"marks":4563,"data":4564},"\nI’m really motivated by need and I’m trying to make places that can make a difference to people. I don’t feel I’m expressing just myself as I work with a team of 250 people. So together we will try to think: ‘What are the real opportunities and real needs?’ ",[],{},{"nodeType":143,"data":4566,"content":4567},{},[4568],{"nodeType":147,"value":4569,"marks":4570,"data":4571},"If I was talking in a British context, one of the most pressing needs is in health. If you want to see the worst of society’s places for itself, you need to look at care homes – this is not a sexy-sounding thing. ",[],{},{"nodeType":143,"data":4573,"content":4574},{},[4575],{"nodeType":147,"value":4576,"marks":4577,"data":4578},"If you look at the care homes in the United Kingdom and in many parts of the world – and forget for a moment the elderly people being cared for there and just look at the people who work there – and think: within the nursing system, if you were a nurse, where would you most like to work? You’d probably say with newborn babies or with accidents, exciting parts where you can have a major impact, whereas at the end of life, there would be no miracle recoveries. You’re just helping someone live to their end, the end of their lives, and it’s the lowest-paid aspect of nursing. ",[],{},{"nodeType":143,"data":4580,"content":4581},{},[4582],{"nodeType":147,"value":4583,"marks":4584,"data":4585},"And it’s not a great environment. Both my grandmothers were in care homes at the end of their lives, and I was ashamed for what it was saying to the nurse, to the staff who was there. It was confirming to them, ‘Yes, you’re in the worst job.’ Actually, those environments need to be thanking people – that they walk in and there needs to be society saying, ‘Thank you for what you do for us,’ because the one thing we have in common all together is we will all get older. ",[],{},{"nodeType":3576,"data":4587,"content":4610},{"target":4588},{"metadata":4589,"sys":4592,"fields":4600},{"tags":4590,"concepts":4591},[],[],{"space":4593,"id":4595,"type":212,"createdAt":4596,"updatedAt":4597,"environment":4598,"publishedVersion":90,"revision":91,"locale":31},{"sys":4594},{"type":14,"linkType":15,"id":16},"5KWYHnZCxShD61bAd2IxHl","2025-12-02T12:18:18.928Z","2025-12-03T10:04:57.228Z",{"sys":4599},{"id":23,"type":14,"linkType":24},{"title":4601,"description":3592,"file":4602},"image-12-Thomas-Heatherwick-photography-Thierry-Bal",{"url":4603,"details":4604,"fileName":4609,"contentType":228},"\u002F\u002Fimages.ctfassets.net\u002F2urh0izv0sep\u002F5KWYHnZCxShD61bAd2IxHl\u002F2257e353c5a34deae33688fc80310b1d\u002Fimages-011.png",{"size":4605,"image":4606},3909654,{"width":4607,"height":4608},1923,1508,"images-011.png",[],{"nodeType":143,"data":4612,"content":4613},{},[4614],{"nodeType":147,"value":4615,"marks":4616,"data":4617},"This is not so glamorous but could make a massive difference. Yet we’ve got an economic model that makes it very hard to intervene. Our economic model loves throwing lots of money at arts museums. Imagine if you just put a proportional part of what got put into a new art museum and spread that across a whole lot of care homes. You could make the best care homes in the world – places that affirmed the amazingness of people’s lives, and the gratitude we have for the people who look after and cherish people at the end of their lives. ",[],{},{"nodeType":143,"data":4619,"content":4620},{},[4621],{"nodeType":147,"value":4622,"marks":4623,"data":4624},"In Asia, I would love to work on where you can impact the most people – so the public-facing places. There are different models of healthcare, but health and education are places where you’re setting the scene for people’s lives going forward – and you are giving the chance for someone to see that there are so many different ways to look at the world. Many of us as individuals feel under pressure to conform to how we think the world should be. Projects that affirm that there is another way, that there are moments where we feel like we’re the outsider, places that are designed for the non-fitting-in-ness of all of us – these are, I think, almost the most generous. ",[],{},{"nodeType":143,"data":4626,"content":4627},{},[4628],{"nodeType":147,"value":4629,"marks":4630,"data":4631},"Thus I’m most motivated by the things we’ve not done before. I would love to work more in Japan with the phenomenal craftsmanship, working with people in Roppongi in Tokyo. There’re so many cultural references that I feel my job is to amplify rather than ignore and impose something in the Western model. ",[],{},{"nodeType":143,"data":4633,"content":4634},{},[4635],{"nodeType":147,"value":4636,"marks":4637,"data":4638},"So, in a sense, I see myself as an amplifier, trying to come find something and enlarge it and stretch it and give it oxygen. I hope that we can develop special meaning for many projects, many decades to come. ",[],{},[4640],"show image description",{"metadata":4642,"sys":4645,"fields":4650},{"tags":4643,"concepts":4644},[],[],{"space":4646,"id":3507,"type":212,"createdAt":3508,"updatedAt":3509,"environment":4648,"publishedVersion":71,"revision":1123,"locale":31},{"sys":4647},{"type":14,"linkType":15,"id":16},{"sys":4649},{"id":23,"type":14,"linkType":24},{"title":3513,"description":219,"file":4651},{"url":3515,"details":4652,"fileName":3521,"contentType":228},{"size":3517,"image":4653},{"width":3519,"height":3520},{"metadata":4655,"sys":4658,"fields":4668},{"tags":4656,"concepts":4657},[],[],{"space":4659,"id":4661,"type":18,"createdAt":4662,"updatedAt":4663,"environment":4664,"publishedVersion":112,"revision":26,"contentType":4666,"locale":31},{"sys":4660},{"type":14,"linkType":15,"id":16},"1qJ9MxUj9P2vMFIiOHvx99","2025-11-06T22:20:59.436Z","2025-12-11T09:22:48.592Z",{"sys":4665},{"id":23,"type":14,"linkType":24},{"sys":4667},{"type":14,"linkType":29,"id":3211},{"name":4669,"slug":4670,"issue":3215,"title":4669,"author":4671,"locationName":4672,"hero":4673,"sections":4723,"thumbnailImage":5704},"公共生活之牆 : Thomas Heatherwick 談建築與日常生活","walls-of-public-life-thomas-heatherwick-on-architecture-and-the-everyday-tc","Tobias Berger及何思衍","倫敦 \u002F 亞洲",{"metadata":4674,"sys":4677,"fields":4687},{"tags":4675,"concepts":4676},[],[],{"space":4678,"id":4680,"type":18,"createdAt":4681,"updatedAt":4682,"environment":4683,"publishedVersion":1078,"revision":1123,"contentType":4685,"locale":31},{"sys":4679},{"type":14,"linkType":15,"id":16},"5pOWPyKJfccnQdHqlLTIko","2025-12-02T12:59:14.745Z","2025-12-02T15:35:27.273Z",{"sys":4684},{"id":23,"type":14,"linkType":24},{"sys":4686},{"type":14,"linkType":29,"id":3231},{"name":4688,"title":3498,"imageOption":3499,"image":4689,"imageSecond":4702,"imagesDisplay":4722},"Cong002: walls of public hero TC",{"metadata":4690,"sys":4693,"fields":4698},{"tags":4691,"concepts":4692},[],[],{"space":4694,"id":3507,"type":212,"createdAt":3508,"updatedAt":3509,"environment":4696,"publishedVersion":71,"revision":1123,"locale":31},{"sys":4695},{"type":14,"linkType":15,"id":16},{"sys":4697},{"id":23,"type":14,"linkType":24},{"title":3513,"description":219,"file":4699},{"url":3515,"details":4700,"fileName":3521,"contentType":228},{"size":3517,"image":4701},{"width":3519,"height":3520},{"metadata":4703,"sys":4706,"fields":4714},{"tags":4704,"concepts":4705},[],[],{"space":4707,"id":4709,"type":212,"createdAt":4710,"updatedAt":4711,"environment":4712,"publishedVersion":1078,"revision":1123,"locale":31},{"sys":4708},{"type":14,"linkType":15,"id":16},"7ZDge5D18L8nF9m07iPzJ","2025-12-02T12:18:18.919Z","2025-12-10T14:29:17.133Z",{"sys":4713},{"id":23,"type":14,"linkType":24},{"title":4715,"file":4716},"cong2-walls-of-public-tc-cover-cropped",{"url":4717,"details":4718,"fileName":4721,"contentType":228},"\u002F\u002Fimages.ctfassets.net\u002F2urh0izv0sep\u002F7ZDge5D18L8nF9m07iPzJ\u002F7ad1d2bfab7da944b5346d02a409a492\u002FFrame_10.png",{"size":4719,"image":4720},921486,{"width":3541,"height":3542},"Frame 10.png",[3545,3546],[4724],{"metadata":4725,"sys":4728,"fields":4739},{"tags":4726,"concepts":4727},[],[],{"space":4729,"id":4731,"type":18,"createdAt":4732,"updatedAt":4733,"environment":4734,"publishedVersion":4736,"revision":901,"contentType":4737,"locale":31},{"sys":4730},{"type":14,"linkType":15,"id":16},"1iUs6GOmLxgD9Q0Ws0DfsW","2025-12-02T12:59:29.028Z","2025-12-10T14:14:10.125Z",{"sys":4735},{"id":23,"type":14,"linkType":24},148,{"sys":4738},{"type":14,"linkType":29,"id":3271},{"title":4740,"text":4741,"assetsOptions":5703},"WIP Cong 002: Walls of Public Life ZH",{"nodeType":139,"data":4742,"content":4743},{},[4744,4751,4762,4773,4780,4806,4813,4820,4827,4834,4841,4848,4855,4862,4869,4876,4883,4895,4907,4933,4940,4947,4954,4961,4968,4994,5001,5008,5019,5030,5037,5044,5051,5058,5065,5072,5079,5086,5112,5119,5130,5141,5148,5155,5162,5169,5176,5183,5208,5215,5222,5229,5241,5252,5259,5266,5273,5280,5287,5294,5301,5326,5333,5344,5355,5362,5369,5376,5387,5398,5405,5412,5419,5426,5433,5440,5447,5458,5469,5476,5483,5490,5515,5522,5533,5544,5555,5566,5573,5584,5591,5602,5628,5635,5642,5649,5675,5682,5689,5696],{"nodeType":143,"data":4745,"content":4746},{},[4747],{"nodeType":147,"value":4748,"marks":4749,"data":4750},"如何造就一座對路人友善的城市? 在與Tobias Berger 和何思衍的對話中，Thomas Heatherwick ( 湯瑪斯. 海瑟尉 ) 疏理出情感、功能和細節，是如何共同塑造城市生活。從香港太古廣場的轉型，到亞洲各地的項目，他熱情地探討著如何挑撥人們的感官，並倡導一種透過關懷和好奇心來維繫公共生活的建築。 ",[],{},{"nodeType":143,"data":4752,"content":4753},{},[4754,4758],{"nodeType":147,"value":3606,"marks":4755,"data":4757},[4756],{"type":290},{},{"nodeType":147,"value":4759,"marks":4760,"data":4761},"我們先由你在香港的項目開始吧。太古廣場大約於十年前重開了，用了大概四到五年的時間來磋商。那時獲太古集團委約的，一個比較舊式、常規的購物中心，你當時其實有何想法? ",[],{},{"nodeType":143,"data":4763,"content":4764},{},[4765,4769],{"nodeType":147,"value":3618,"marks":4766,"data":4768},[4767],{"type":290},{},{"nodeType":147,"value":4770,"marks":4771,"data":4772},"有趣的是，太古集團行政總裁已經在位二十年了，而他一開始就建成太古廣場。他做了一件令我大為驚訝 的事——因為他問我:「你之前做過零售商場項目嗎? 沒有? 太好了，正合我意。」 ",[],{},{"nodeType":143,"data":4774,"content":4775},{},[4776],{"nodeType":147,"value":4777,"marks":4778,"data":4779},"然後他補充:「我其實不知道自己想要甚麼。可能我們只是想有新的舖路? 但我希望你可以親身來看一下，告訴我你的看法。」所以我們在那裡待了幾天，一邊探索一邊嘗試理解。某程度上，太古廣場就像一座小鎮，帶著依山而建的複雜性，而多個底層樓層也像香港那樣相互連接、交織，使它具有那種可愛的、近乎蜂巢般的複雜性。它不僅僅是坐落在平地上的建築。最後他問:「那你覺得怎麼樣?」我知道我眼前的這個人，其實對自己的作品很自豪，但他現在卻問我:「哪裡出了問題? 我錯了嗎? 我哪裡做錯了?」現在，我們的工作方式是分析和發現問題，我不認為這是消極的，而是積極的。我們需要信任他，坦誠地告訴他我們認為有甚麼可以更上一層樓，這是趣味所在。",[],{},{"nodeType":3576,"data":4781,"content":4805},{"target":4782},{"metadata":4783,"sys":4786,"fields":4794},{"tags":4784,"concepts":4785},[],[],{"space":4787,"id":4789,"type":212,"createdAt":4790,"updatedAt":4791,"environment":4792,"publishedVersion":1078,"revision":1123,"locale":31},{"sys":4788},{"type":14,"linkType":15,"id":16},"2Sj6lmmnq7yWFgjaIFqvCs","2025-12-08T12:32:37.914Z","2025-12-08T12:35:10.065Z",{"sys":4793},{"id":23,"type":14,"linkType":24},{"title":4795,"description":4796,"file":4797},"images-012","UpperHouse 奕居 (image courtesy of Heatherwick Studio; photography: Iwan Baan)",{"url":4798,"details":4799,"fileName":4804,"contentType":228},"\u002F\u002Fimages.ctfassets.net\u002F2urh0izv0sep\u002F2Sj6lmmnq7yWFgjaIFqvCs\u002Fe83ea692bd457a613159cd59ab2e1982\u002Fimages-012.png",{"size":4800,"image":4801},2621626,{"width":4802,"height":4803},1757,1226,"images-012.png",[],{"nodeType":143,"data":4807,"content":4808},{},[4809],{"nodeType":147,"value":4810,"marks":4811,"data":4812},"太古廣場的設計其實很成功，一直因為它的寧靜而備受愛戴。我們發現我們還可以使它更安靜——更可以引入一些初建時沒有機會實現的元素。所以到最後，我們不止於更新舖路而已，我們為它創造了一個全新的面目——一個全新的、在環境表現上有所改善的建築。我們在本來的卸貨區興建了新酒店，即是現在的奕居，我們設計了它的外觀。",[],{},{"nodeType":143,"data":4814,"content":4815},{},[4816],{"nodeType":147,"value":4817,"marks":4818,"data":4819},"我個人對於城市和政府如何打造公共空間很感興趣。在二次大戰後，政府傾向建造一些促使社會聚合的空間。在世界各地不同的城市，這些計劃都出了點差錯，導致城市失卻了自信。以英國為例，本來有很多建築師在計劃部門內工作，但現在他們都離開了。現在，打造我們居住其中的公共空間的責任，就落到了私人發展商的頭上。",[],{},{"nodeType":143,"data":4821,"content":4822},{},[4823],{"nodeType":147,"value":4824,"marks":4825,"data":4826},"我知道在建築的世界，人們都對「文化建築」有種迷戀——例如歌劇院、音樂廳和國家圖書館等等。但對我來說，文化其實就是你周圍的一切:是那個在梳化或雪櫃的生命來到盡頭，你要領它們去的垃圾站;是醫院、護老院、社區中心......是你買菜還有和家人共晉晚餐的，諸如此類的地方。",[],{},{"nodeType":143,"data":4828,"content":4829},{},[4830],{"nodeType":147,"value":4831,"marks":4832,"data":4833},"所以我認為，建築不該被視為明顯的藝術建築。如果太顯而易見，你會說:「噢，那是座藝術建築，把它弄藝術一點吧。」在倫敦、英國、歐洲的，受歡迎的許多是舊建築——相當於180年前的宜家傢俬棚屋，那為甚麼日常建築不能與我們連結呢?",[],{},{"nodeType":143,"data":4835,"content":4836},{},[4837],{"nodeType":147,"value":4838,"marks":4839,"data":4840},"所以太古廣場是一個擁有優秀委託人，容讓我們去反思用家的情感、還有人們是如何相聚的地方和項目。如果在英國，你可能會想:「噁!是個商場!」但亞熱帶氣候的戶外實在太熱了，而且暑熱持續很長時間——如果你是年青人，你要去哪裡約會?你不想呆在狹小的公寓裡的話，要去甚麼公共空間待著? 商場這樣的地方是對大眾來說不可或缺的公共空間——那裡承載了人們多年以來的生活記憶。",[],{},{"nodeType":143,"data":4842,"content":4843},{},[4844],{"nodeType":147,"value":4845,"marks":4846,"data":4847},"所以人們生活其中的地方，往往使我感受甚深，也很教人興奮。如果城市不再規劃這些建築了，而開發商——尤其是房地產開發商，例如領導太古集團的我那位朋友，卻擔起了在建造的責任。他們也教會了我很多關於人類行為的洞見。那些長期擁有土地的人，那些絕非短期內建造、出售和處置土地的人——必須思考人們的整體生活，思考真正的、深刻的、長遠的價值，並思考如何以對社會最有意義的方式使用金錢。 ",[],{},{"nodeType":143,"data":4849,"content":4850},{},[4851],{"nodeType":147,"value":4852,"marks":4853,"data":4854},"我對這種反應，以及我們在工作室裡所做的各種事情都非常感興趣，如此說來，太古廣場的項目對我影響的確很大。",[],{},{"nodeType":143,"data":4856,"content":4857},{},[4858],{"nodeType":147,"value":4859,"marks":4860,"data":4861},"當我問香港人他們對太古廣場的看法時，他們會提起洗手間和電梯按鈕，諸如此類的東西——人們可能會想:「甚麼??!!」",[],{},{"nodeType":143,"data":4863,"content":4864},{},[4865],{"nodeType":147,"value":4866,"marks":4867,"data":4868},"項目還有興建時，升降機和廁所是最早完工的。他們說:「別掛心洗手間的事，洗手間由我們來負責，你專注在主要的事情上便可。」",[],{},{"nodeType":143,"data":4870,"content":4871},{},[4872],{"nodeType":147,"value":4873,"marks":4874,"data":4875},"但我「知道」洗手間與其他主要的公共空間截然不同。在外面，你通常與朋友在一起，或者在到處遛達，而人的心理是很耐人尋味的，當你與他人在一起，我們總是無時無刻在猜度他人對自身的想法。所以你根本沒留心你周遭的環境，你幾乎變成了另一個人。",[],{},{"nodeType":143,"data":4877,"content":4878},{},[4879],{"nodeType":147,"value":4880,"marks":4881,"data":4882},"但當你上洗手間時，你通常獨自一人——你對周遭環境會更加敏感。那時你可能會有很多批判。但對洗手間，你的期望值其實很低; 你假設洗手間都是千篇一律的。所以我想，我們不如把我們對待歌劇院和美術館的愛，同等份的給予一個廁格?",[],{},{"nodeType":143,"data":4884,"content":4885},{},[4886,4891],{"nodeType":147,"value":4887,"marks":4888,"data":4890},"Tobias Berger:\n",[4889],{"type":290},{},{"nodeType":147,"value":4892,"marks":4893,"data":4894},"你為香港的洗手間帶來革命。我不知道你是否意識到，但你設計的洗手間已廣被其他商場抄襲了。",[],{},{"nodeType":143,"data":4896,"content":4897},{},[4898,4903],{"nodeType":147,"value":4899,"marks":4900,"data":4902},"Thomas Heatherwick:\n",[4901],{"type":290},{},{"nodeType":147,"value":4904,"marks":4905,"data":4906},"如果那份努力被大家複製開去了，那是我的榮幸。",[],{},{"nodeType":3576,"data":4908,"content":4932},{"target":4909},{"metadata":4910,"sys":4913,"fields":4921},{"tags":4911,"concepts":4912},[],[],{"space":4914,"id":4916,"type":212,"createdAt":4917,"updatedAt":4918,"environment":4919,"publishedVersion":51,"revision":1123,"locale":31},{"sys":4915},{"type":14,"linkType":15,"id":16},"429jHhXAU8c13XnRs3LhvQ","2025-12-08T12:32:37.908Z","2025-12-08T12:36:04.192Z",{"sys":4920},{"id":23,"type":14,"linkType":24},{"title":4922,"description":4923,"file":4924},"images-013","Thomas Heatherwick (photography by Thierry Bal)",{"url":4925,"details":4926,"fileName":4931,"contentType":228},"\u002F\u002Fimages.ctfassets.net\u002F2urh0izv0sep\u002F429jHhXAU8c13XnRs3LhvQ\u002F943071b9f393a1b2b100551a8f8e9dbb\u002Fimages-013.png",{"size":4927,"image":4928},1639286,{"width":4929,"height":4930},1276,978,"images-013.png",[],{"nodeType":143,"data":4934,"content":4935},{},[4936],{"nodeType":147,"value":4937,"marks":4938,"data":4939},"在太古廣場，我們試圖柔化整個空間——它一直都又硬又尖——而洗手間就是其中重要一環。我們也經歷了一番掙扎，因為洗手間需要門，而門鉸是剛性的，不柔軟。它像摺紙一樣精確。我們自問: 彎曲的門可以配上尖銳的門鉸嗎? 情感上它聽來很不對勁——好像你在偽裝一樣。所以我想:「其實你真正想要的是一面彎曲的牆。我們可以使牆彎曲嗎?」這聽起來很荒謬。但我記得在我向集團行政總裁說這件事時，因為他都是思想開放的人，他都保證我們會一起實現這個構想。",[],{},{"nodeType":143,"data":4941,"content":4942},{},[4943],{"nodeType":147,"value":4944,"marks":4945,"data":4946},"所以我們做到了——總共花了六個星期。",[],{},{"nodeType":143,"data":4948,"content":4949},{},[4950],{"nodeType":147,"value":4951,"marks":4952,"data":4953},"還有一個使我快樂又自豪的細節——大家可能不太注意到，但應該都感受到了——在四樓的上落區，有一條舖有路緣矮坡的路。我們當然需要遵守規例，但同時這是正確的事: 輪椅需要路緣矮坡，以方便來往馬路與行人道。",[],{},{"nodeType":143,"data":4955,"content":4956},{},[4957],{"nodeType":147,"value":4958,"marks":4959,"data":4960},"奇怪的是，路緣矮坡僅是這幾十年的產物。因為我經常設計傷殘設施，我才發現沒有人在道路的邊緣興建矮坡，沒有人想過要讓輪椅人士以我們的方式使用城市。",[],{},{"nodeType":143,"data":4962,"content":4963},{},[4964],{"nodeType":147,"value":4965,"marks":4966,"data":4967},"然而，我認為路緣矮坡看來就像「不想工作」的樣子。你可以看到有部份路緣處的曲線向下傾斜，讓輪椅可以通過，然後又突然抬升起來。我們反倒在想如何加入一些細節，讓路緣更為平易近人? 我們提議——整個設計中包含九個路緣矮坡——沿著人行道邊緣延伸，流線形地上下彎曲。它很有雕塑感; 是在意大利卡拉拉雕刻的。只造九個並不太貴; 它感覺不像是一個斷斷續續的路緣，更像是在歡迎你使用。這樣的細節幾乎是不可見的，幾乎沒有人注意到它。但你可以從中感受到平靜，因為通常地方的細節都是脫節的。",[],{},{"nodeType":3576,"data":4969,"content":4993},{"target":4970},{"metadata":4971,"sys":4974,"fields":4982},{"tags":4972,"concepts":4973},[],[],{"space":4975,"id":4977,"type":212,"createdAt":4978,"updatedAt":4979,"environment":4980,"publishedVersion":26,"revision":1123,"locale":31},{"sys":4976},{"type":14,"linkType":15,"id":16},"5HjD7Wcu07gxcN6zNJWMJe","2025-12-08T12:32:37.926Z","2025-12-08T12:40:46.139Z",{"sys":4981},{"id":23,"type":14,"linkType":24},{"title":4983,"description":4984,"file":4985},"images-015","Pacific Place 香港太古廣場 (image courtesy of Heatherwick Studio; photography: Iwan Baan)",{"url":4986,"details":4987,"fileName":4992,"contentType":228},"\u002F\u002Fimages.ctfassets.net\u002F2urh0izv0sep\u002F5HjD7Wcu07gxcN6zNJWMJe\u002F39c31accacaa3aaf3fa2522b1b3e5d37\u002Fimages-015.png",{"size":4988,"image":4989},1287719,{"width":4990,"height":4991},1356,1446,"images-015.png",[],{"nodeType":143,"data":4995,"content":4996},{},[4997],{"nodeType":147,"value":4998,"marks":4999,"data":5000},"太古廣場的另一個細節是空間內隨處可見的扶手。沒有人重新發明過自動扶梯，自動扶梯總是有上行、繞行、下行的台階，被扶手環燒著。因此，你經常會看到有人設計他們夢想中的欄桿——一個扶手的設計圖，然後它末端是圓形的。通常你會像切麵包一樣把它切開，然後把它們擠在一起。這也很不協調。我們當時就在太古廣場那裡，被那種平靜和思緒所影響，然後想，好吧，如果這是平靜的，介面之間看起來應該像在交朋友一樣和諧。",[],{},{"nodeType":143,"data":5002,"content":5003},{},[5004],{"nodeType":147,"value":5005,"marks":5006,"data":5007},"所以我們把木頭造成和扶手電梯上的橡膠一樣的形狀。所以扶手電梯的形狀影響了周圍的扶手，兩者並行，再延伸到同一個曲線結束，然後一個變成固定的扶手，另一個則移動起來。同樣，這與平靜有關，也是極簡主義的一個形式——試圖讓事物感覺它們來自同樣的能量。",[],{},{"nodeType":143,"data":5009,"content":5010},{},[5011,5015],{"nodeType":147,"value":4887,"marks":5012,"data":5014},[5013],{"type":290},{},{"nodeType":147,"value":5016,"marks":5017,"data":5018},"這需要大量的細節研究，並再要了解狀況。我很感興趣的是你的研究過程: 你的項目，例如東京麻布台和香港太古廣場，其景觀設計都經過了深思熟慮——正如我們剛才提到的各種細節。",[],{},{"nodeType":143,"data":5020,"content":5021},{},[5022,5026],{"nodeType":147,"value":4899,"marks":5023,"data":5025},[5024],{"type":290},{},{"nodeType":147,"value":5027,"marks":5028,"data":5029},"我們工作室有一個景觀團隊，因為在我經營工作室的31年裡，我認知到，你比以往任何時候，都更無法區分建築物是否一個獨立物體?建築物是如何成為街道和周遭景觀的一部分，以及如何將兩者縫合在一起?",[],{},{"nodeType":143,"data":5031,"content":5032},{},[5033],{"nodeType":147,"value":5034,"marks":5035,"data":5036},"你第一眼看見的必定是風景，而非建築。我一直很努力希望去軟化建築的硬——因為今時今日，建造業覺得值得的建築都是龐然巨物，除了私人住宅，我們甚少興建小型建築了。",[],{},{"nodeType":143,"data":5038,"content":5039},{},[5040],{"nodeType":147,"value":5041,"marks":5042,"data":5043},"所以城市的真正改變總是大規模的，要面對一種大尺寸的挑戰。在我的所有項目之中，我在努力抵消大規模所帶來的非人性因素——太單調、太重複，以及使人缺乏滋養的視覺複雜性。",[],{},{"nodeType":143,"data":5045,"content":5046},{},[5047],{"nodeType":147,"value":5048,"marks":5049,"data":5050},"融合大自然元素，可以為來訪者創造更多視覺參與，也可展現多樣的魅力。從研究的角度來看，我們流程的開端往往是溝通，因為我們必須努力充分了解場地和特定項目的需求。此外，委託你的人通常是你即將開展的項目的各方面的絕對專家。",[],{},{"nodeType":143,"data":5052,"content":5053},{},[5054],{"nodeType":147,"value":5055,"marks":5056,"data":5057},"我們必須努力向他們學習，並徹底理解他們。我們看似是作者，但實際上他們才是——我們只是幫助他們實現成果的工具之一。我們可以嘗試給他們建議——例如一些他們可能認為並不重要的面向。通常他們對某件事應該是或不是甚麼有著非常強烈的固有看法，但我們創作的過程卻是非常具探索性的: 我們會嘗試很多東西，再逐漸縮小範圍，並從我們的研究中剔除那些感覺不太對勁的東西。這絕不是一種單一作者論的心態。",[],{},{"nodeType":143,"data":5059,"content":5060},{},[5061],{"nodeType":147,"value":5062,"marks":5063,"data":5064},"工作室大部分的工作，根源於秉持「功能主義」的理念——但當我們說「功能」時，情感也同樣至關重要。我們有一些地方聲稱功能性強，但卻缺乏情感層面的功能。鑑於建築是為了人而存在的，如果社會不在乎它，它就不能稱之為功能性建築。",[],{},{"nodeType":143,"data":5066,"content":5067},{},[5068],{"nodeType":147,"value":5069,"marks":5070,"data":5071},"所以我們嘗試分析自己的反應，透過自己的眼睛先於設計師這個身份去觀看這個空間——幾乎像回歸你內在那個11歲的小孩，我們都還保有那個部分，還保有那個視角和感受世界的方式，仍保有那份驚奇，還有不名所以的困惑:「為甚麼會有人那樣做呢?」",[],{},{"nodeType":143,"data":5073,"content":5074},{},[5075],{"nodeType":147,"value":5076,"marks":5077,"data":5078},"我們既持有專業的角度，同時也嘗試代入一般過路人的角度。我們要持續訓練那組肌肉——那些隨著你越來越專業反而會流失的能力。不知不覺間，人們很容易陷入一種自以為是、缺乏反思的「同溫層」思維: 等等，一個11歲的孩子會怎麼想?別再想那些自作聰明的事情了——一個剛接觸這個領域的人會怎麼回應?",[],{},{"nodeType":143,"data":5080,"content":5081},{},[5082],{"nodeType":147,"value":5083,"marks":5084,"data":5085},"不是說我們能夠滿足所有人——但有些建築和地方的確有能力讓所有人都不快樂!我們需要堅持不懈地思考，如何才能打造出吸引點、不讓人感到無聊的空間。「無聊」這個詞聽起來有點滑稽，但我們對美的討論已卻引人入勝，使人著迷。",[],{},{"nodeType":3576,"data":5087,"content":5111},{"target":5088},{"metadata":5089,"sys":5092,"fields":5100},{"tags":5090,"concepts":5091},[],[],{"space":5093,"id":5095,"type":212,"createdAt":5096,"updatedAt":5097,"environment":5098,"publishedVersion":679,"revision":91,"locale":31},{"sys":5094},{"type":14,"linkType":15,"id":16},"1rke4AXs3spi715PI0J6QL","2025-12-08T12:32:37.904Z","2025-12-10T14:10:22.485Z",{"sys":5099},{"id":23,"type":14,"linkType":24},{"title":5101,"description":5102,"file":5103},"images-014","The Learning Hub, NTU Singapore 新加坡南洋理工大學學習樞紐大樓 (image courtesy of Heatherwick Studio; photography: Hufton and Crow)",{"url":5104,"details":5105,"fileName":5110,"contentType":228},"\u002F\u002Fimages.ctfassets.net\u002F2urh0izv0sep\u002F1rke4AXs3spi715PI0J6QL\u002F3c5d1e921622b301e4b6688b6a5af422\u002Fimages-014.png",{"size":5106,"image":5107},3023894,{"width":5108,"height":5109},1096,1415,"images-014.png",[],{"nodeType":143,"data":5113,"content":5114},{},[5115],{"nodeType":147,"value":5116,"marks":5117,"data":5118},"社會需要的特徵是一切都新加坡南洋理工大學學習樞紐大樓必須是美麗的——我並不完全認同——但我認為我們確實需要一些吸引的地方，並且以多種方式勾起我們的興趣。",[],{},{"nodeType":143,"data":5120,"content":5121},{},[5122,5126],{"nodeType":147,"value":4887,"marks":5123,"data":5125},[5124],{"type":290},{},{"nodeType":147,"value":5127,"marks":5128,"data":5129},"你認為在西方或亞洲中實踐你的想法有沒有不同?畢竟兩種語境下的公共空間、社會制度等都不盡相同。",[],{},{"nodeType":143,"data":5131,"content":5132},{},[5133,5137],{"nodeType":147,"value":4899,"marks":5134,"data":5136},[5135],{"type":290},{},{"nodeType":147,"value":5138,"marks":5139,"data":5140},"全世界都有，我們渴望涉足全球，很想與對其公民慷慨的社會合作。我深感平易近人又開放的地方非常短缺——那種即使你不在當地工作或生活，仍能讓你感到賓至如歸的地方。",[],{},{"nodeType":143,"data":5142,"content":5143},{},[5144],{"nodeType":147,"value":5145,"marks":5146,"data":5147},"我對「過路人」這個詞很感興趣，因為這種族群經常被忽視。建築業內人人都在談論客戶，好像你只需要取悅這群人——你忘記了我們還有社會這個客人，那些從來不會親身進入你作品的「過路人」。",[],{},{"nodeType":143,"data":5149,"content":5150},{},[5151],{"nodeType":147,"value":5152,"marks":5153,"data":5154},"我深信，縱使這個星球上有80億人，但當中每一個個體都會覺得自己是獨一無二的。某程度上這也是真的。這顯然是個悖論:怎麼可能80億人都是特別的呢?",[],{},{"nodeType":143,"data":5156,"content":5157},{},[5158],{"nodeType":147,"value":5159,"marks":5160,"data":5161},"所以很多地方都把我們當普通人看待。但當你在構想一個項目時，你必須使人確信自身是特別的。我們既獨特又平凡——這兩種特質是共存的。所以我相信我們全世界的人都有種普世的相似性。",[],{},{"nodeType":143,"data":5163,"content":5164},{},[5165],{"nodeType":147,"value":5166,"marks":5167,"data":5168},"對我來說，從現時的創作方式來看，很難區分歐洲、北美或亞洲在思考方式上的真正差異。我發現亞洲的政府和開發團隊對創意的接受度更高，他們對一些意料之外的想法保持開放態度，並且能理解某些事情的重要性——而且這並不是虛榮。我們具野心的計畫經常被五花八門的原因否決，當中也涉及對知性的妄想。當我們身處歐洲這樣一個古老得多的現代化文化圈中，這種妄想是可以理解的，但卻對我們非常不利，因為它會讓我們高估自己對現實的理解。",[],{},{"nodeType":143,"data":5170,"content":5171},{},[5172],{"nodeType":147,"value":5173,"marks":5174,"data":5175},"我認為，我在亞洲體驗到的雄心壯志和渴望，讓我們能夠做出不斷進步的項目。",[],{},{"nodeType":143,"data":5177,"content":5178},{},[5179],{"nodeType":147,"value":5180,"marks":5181,"data":5182},"最簡單的例子是上海世博的英國館，我們擁有的資金只有其他西方國家的一半。英國政府很擔心中國觀眾不會明白我們在做的事，因為我們的展館裡沒有城堡、女皇、福爾摩斯——我們要展示的不是陳腔濫調，而是展示一些甚至英國人自己都沒見過的東西，這是英國千年種子銀行藏品的一大部分。",[],{},{"nodeType":3576,"data":5184,"content":5207},{"target":5185},{"metadata":5186,"sys":5189,"fields":5197},{"tags":5187,"concepts":5188},[],[],{"space":5190,"id":5192,"type":212,"createdAt":5193,"updatedAt":5194,"environment":5195,"publishedVersion":50,"revision":51,"locale":31},{"sys":5191},{"type":14,"linkType":15,"id":16},"gjabLql3lp6MpjJdXgbYD","2025-12-08T12:32:37.920Z","2025-12-10T14:10:40.077Z",{"sys":5196},{"id":23,"type":14,"linkType":24},{"title":5198,"description":5199,"file":5200},"images-016","1000 Trees, Shanghai 上海天安千樹 (image courtesy of Heatherwick Studio; photography: Qingyan Zhu)",{"url":5201,"details":5202,"fileName":5206,"contentType":228},"\u002F\u002Fimages.ctfassets.net\u002F2urh0izv0sep\u002FgjabLql3lp6MpjJdXgbYD\u002Fdec67b07eeba083903104a20564114fb\u002Fimages-016.png",{"size":5203,"image":5204},12264715,{"width":3520,"height":5205},3076,"images-016.png",[],{"nodeType":143,"data":5209,"content":5210},{},[5211],{"nodeType":147,"value":5212,"marks":5213,"data":5214},"「種子聖殿」贏得了世博會的最高殊榮。作為最小的展館之一，這完全是策略性地運用資金的結果。有趣的是，我們向英國政府爭辯，他們認為最有風險的，恰恰是我們認為最安全的事情——因為如果我們設計的東西俗不可耐，當遊客要在排隊的三個小時內，從250個展館中取捨時，他們肯定不會選擇那些墨守成規的展館。",[],{},{"nodeType":143,"data":5216,"content":5217},{},[5218],{"nodeType":147,"value":5219,"marks":5220,"data":5221},"人們都渴望真實的東西，那些努力推動社會進步，既創新又前衛，並以有意義的嶄新方式讓我們產生共鳴的事物。我想這是放諸四海都通用的真相。",[],{},{"nodeType":143,"data":5223,"content":5224},{},[5225],{"nodeType":147,"value":5226,"marks":5227,"data":5228},"我們無意中在歐洲遭受野心受挫很可惜，因為這是與我們作對的。我們希望改變和保護的，正是來自於我們過去的野心和自信而生的計畫。文化自信是如此珍貴——它在亞洲與日俱增的同時，在歐洲卻在煙消雲散，這本身就是自取滅亡。",[],{},{"nodeType":143,"data":5230,"content":5231},{},[5232,5237],{"nodeType":147,"value":5233,"marks":5234,"data":5236},"何思衍:\n",[5235],{"type":290},{},{"nodeType":147,"value":5238,"marks":5239,"data":5240},"您提到了「大」，我想問你關於塔樓和基座的問題。亞洲許多人口密集的城市，都存在這種塔樓開發模式——雖然看起來很吸引，但也有點乏味，像「生活機器」一樣千篇一律。先有基座，後有塔樓。雖然平台還是有很多方法可以與街道連接，但塔樓又可以怎樣呢? 你在麻布台之丘和天安千樹兩個項目中，都採用了不同的方法。這是一種以眾多塔樓的強度和重複性，試圖超越基座的一種發展方式嗎?",[],{},{"nodeType":143,"data":5242,"content":5243},{},[5244,5248],{"nodeType":147,"value":4899,"marks":5245,"data":5247},[5246],{"type":290},{},{"nodeType":147,"value":5249,"marks":5250,"data":5251},"我感興趣的是，如何在城市中達到必要的密度，以確保充足的街道生活，同時可以減少汽車的使用。因此我們需要較小型卻更高樓層的建築，尤其是在如今網購盛行，我們不再需要那麼多商店的情況下。如果街道失去活力，就會變得危險——而商店曾經是我們為街道注入活力的主要方式之一。",[],{},{"nodeType":143,"data":5253,"content":5254},{},[5255],{"nodeType":147,"value":5256,"marks":5257,"data":5258},"空無一人的街道是很可怕的。這又是一個有趣的悖論，我們以為人很可怕，但原來沒有人也很可怕。所以讓我們退一步審視建造業的模式: 塔樓感覺是很華麗的東西，它們好像需要強勁的設計——相比之下你的街道經驗就沒那麼光鮮了。在建造業和設計業，我們都缺乏讓街道活起來的專家，似乎除了增添商店之外已別無他法。",[],{},{"nodeType":143,"data":5260,"content":5261},{},[5262],{"nodeType":147,"value":5263,"marks":5264,"data":5265},"我正嘗試以不同的方式看待這個略顯棘手的問題。部分原因是，在倫敦，作為一名從事建築業的公眾人物，我經常被問到我對塔樓的看法。我一直說:「別太擔心塔樓。香港的經驗告訴我，高樓也可以很好。挑戰在於底層。」在上環或灣仔這樣的地區，有一些非常高的建築，但在街道層面，你能看到街道上的變化和多樣性，尤其是「筷子樓」這種纖細的塔樓。一般來說，如果不是在香港這樣寶貴的土地上，新的塔樓通常會更「胖」，當你走到胖塔樓的地面樓層時，你看到的只是一個死氣沉沉的大堂。你可以看到玻璃後面某個地方有一個大理石接待處——也許還有一件藝術品，讓客戶覺得它們很精緻，但它甚麼也沒給你。它不是給予者——它既不迷人，也不慷慨。它的門把和其他辦公大樓一樣。沒有甚麼能使你定睛。",[],{},{"nodeType":143,"data":5267,"content":5268},{},[5269],{"nodeType":147,"value":5270,"marks":5271,"data":5272},"作為一個對純粹感興趣的人，會認為塔樓不需要基座，直接矗立在街道上就乾淨俐落。既定俗成的基座配商場，然後老套的塔樓從基座上平地升起，這種刻板印像已根深蒂固地紮根在我們的腦海中。",[],{},{"nodeType":143,"data":5274,"content":5275},{},[5276],{"nodeType":147,"value":5277,"marks":5278,"data":5279},"但人類的感知很有趣——這在我們最近的幾個項目中的感悟。當你真正觀察人們在街道樓層是如何體驗生活時，你會發現人們實際上並不經常抬頭仰望。當我們在聖荷西作總體規劃時，我們發現人們主要體驗的，只有地面以上40尺的樓層罷了。",[],{},{"nodeType":143,"data":5281,"content":5282},{},[5283],{"nodeType":147,"value":5284,"marks":5285,"data":5286},"因此，如果你要為社會體驗投放愛、關懷和金錢，我認為最好的做法就是把錢花在那40尺，因為正正在那個範圍，一切是如此乏善可陳、刻薄至極、又大又重複、無聊又沒吸引力，這種公寓或辦公大樓簡直是一個11歲孩子永不會踏足的空間。你該如何讓他或她在那個地方跟朋友閒聊會感到安全，而不用擔憂被搶劫?",[],{},{"nodeType":143,"data":5288,"content":5289},{},[5290],{"nodeType":147,"value":5291,"marks":5292,"data":5293},"所以我開始關注基座——我以前從未想過我會在乎它。但你不可能把錢平均投放到所有項目中。那麼你要如何前進呢?我喜歡的一些1920、1930年代建築——在北美一些主要城市也有這樣的例子——它們原本是塔樓，它們真的有往下移動，但也沒有基座。然而因此它們又增添了魅力，在門廊、窗戶和底層都體現出更多的細節、用心和工藝。然後，這些元素從大約40尺以上逐漸減少，你會看到一座非常簡單的塔樓——在頂部，你又再會感受到一點愛和關懷。",[],{},{"nodeType":143,"data":5295,"content":5296},{},[5297],{"nodeType":147,"value":5298,"marks":5299,"data":5300},"就優先次序來說: 我確實認為我們沒有進行足夠的調查，無法了解公眾對空間的實際關注和感受。我們調查的對象是建築物內的人。我覺得很荒謬的是，那些頂尖的設計和建築公司會自豪地說，他們會進行入住後調查，但結果他們只是針對建築物的使用者而已，而不包括任何過路人。",[],{},{"nodeType":3576,"data":5302,"content":5325},{"target":5303},{"metadata":5304,"sys":5307,"fields":5315},{"tags":5305,"concepts":5306},[],[],{"space":5308,"id":5310,"type":212,"createdAt":5311,"updatedAt":5312,"environment":5313,"publishedVersion":1078,"revision":1123,"locale":31},{"sys":5309},{"type":14,"linkType":15,"id":16},"6hxKRKodweaVUNhawLGFrb","2025-12-08T12:32:37.916Z","2025-12-08T12:44:34.685Z",{"sys":5314},{"id":23,"type":14,"linkType":24},{"title":5316,"description":5317,"file":5318},"images-017","1000 Trees 天安千樹 (image courtesy of Heatherwick Studio; photography: Qingyan 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我們真的有衡量過，他們是對我來說，這些公共生活之牆是被忽視的部分——也是個絕佳的機會。我知道修讀建築的人真的在乎。看看讀建築的時間這麼長，但薪水相對不高，但他們仍然願意選讀建築，而不是跑去從事銀行或其他職業。但在建造業，人們不知不覺就失卻初心了。如果你叫他們撫心自問，骨子裡他們的確在乎——但同溫層和泡沫讓我們失焦，讓我們不再關注我們行事的後果。",[],{},{"nodeType":143,"data":5334,"content":5335},{},[5336,5340],{"nodeType":147,"value":4887,"marks":5337,"data":5339},[5338],{"type":290},{},{"nodeType":147,"value":5341,"marks":5342,"data":5343},"你的建築遠遠不止是建築而已，對嗎?你會想像人們如何在其中游走，你還經常討論情感。在新加坡南洋理工大學，你甚至把它開放了。你認為建築師和設計師應該在建築的功能與日常工作上參與更多嗎?",[],{},{"nodeType":143,"data":5345,"content":5346},{},[5347,5351],{"nodeType":147,"value":4899,"marks":5348,"data":5350},[5349],{"type":290},{},{"nodeType":147,"value":5352,"marks":5353,"data":5354},"我意識到建築團隊的壓力非常大。你的問題與預算、獲得委約、法規、安全，以及與眾多顧問的溝通，以及你激勵城市和地產商的能力有關——這是一個非常困難的角色。工作容易堆積如山——但我們確實認為，在建築領域，我們與公眾的溝通不夠。如果公眾能參與更多，他們會支持我們，並願意與我們溝通。他們會說:「讓地方變得更親切吧，讓我們所有人都覺得它有趣，而不僅僅是對那些有幸身處其中的人來說。」",[],{},{"nodeType":143,"data":5356,"content":5357},{},[5358],{"nodeType":147,"value":5359,"marks":5360,"data":5361},"我相信，公眾越不被當成愚昧無知的人——這是該行業陷入的一種奇怪心態——公眾就會從四面楚歌的絕境，轉變為我們強而有力的後盾。畢竟，他們不會對地產商和政府說:「你們能不能再多造一些無聊的地方?」建築師想要做一些有趣的設計，但實際上，由於社會公眾缺乏發言權，這個行業竟得以建造一些無聊至極的地方而不受懲罰。他們認為這就像皇帝的新衣。",[],{},{"nodeType":143,"data":5363,"content":5364},{},[5365],{"nodeType":147,"value":5366,"marks":5367,"data":5368},"這就是為甚麼我們許多人感到意興闌珊了，尤其在英國如是。我們在想:「我們為甚麼不乾脆複製歷史建築便算了?」這並不意味著他們只喜歡舊建築，只是因為他們能輕易指稱它為有個性和有靈魂罷了，但我不相信你需要複製過去。",[],{},{"nodeType":143,"data":5370,"content":5371},{},[5372],{"nodeType":147,"value":5373,"marks":5374,"data":5375},"即使不複製過去，你還是可以設計一些質感、個性和情感兼備的項目。如果你問及公眾他們最喜歡的建築，大部份人都會回答一些現代建築——未必是舊建築。我會說我們不要害怕公眾。我們似乎很怕公眾會有壞品味，但我從不認為此。",[],{},{"nodeType":143,"data":5377,"content":5378},{},[5379,5383],{"nodeType":147,"value":5233,"marks":5380,"data":5382},[5381],{"type":290},{},{"nodeType":147,"value":5384,"marks":5385,"data":5386},"當你談到「城市樓層」、「街道樓層」、「大門樓層」時，人們會覺得你以一種設計思維來思考整體情況——某程度上它真的很像城市規劃，對嗎?",[],{},{"nodeType":143,"data":5388,"content":5389},{},[5390,5394],{"nodeType":147,"value":4899,"marks":5391,"data":5393},[5392],{"type":290},{},{"nodeType":147,"value":5395,"marks":5396,"data":5397},"我們現在開始有機會設計社區了。去年，我們完成了一個650萬平方尺的項目。麻布台之丘規模龐大，我們也正在進行一些大型社區項目，這需要考慮到最大的城市和街道距離和門戶間距等。",[],{},{"nodeType":143,"data":5399,"content":5400},{},[5401],{"nodeType":147,"value":5402,"marks":5403,"data":5404},"我一直覺得總體規劃真的很吊詭，因為我看過太多地方聲稱有好的總體規劃——然而，裡面仍充斥著一些乏味的建築，讓人感覺沒有靈魂。這使人有點糾結: 相反在一個糟糕的總體規劃裡，建造有趣又充滿靈魂、有質感的建築不是更好? 或許是的，因為我們人類有很強的適應力。我們在事物中圍繞著事物展開工作，而我們應該有足夠的立法和政策來倡議美好而避開乏味。當我們談論美時，感覺非常主觀——我們為求自保而拒絕和別人談論美。",[],{},{"nodeType":143,"data":5406,"content":5407},{},[5408],{"nodeType":147,"value":5409,"marks":5410,"data":5411},"但沉悶乏味卻不那麼主觀了。它主觀的成份不多，我們作公眾調查時，發現90%的受訪者對於何謂沉悶都有共識。在人性化運動和我們撰寫的書中，我們真正想要表達的，並非指建築應該全是曲線或方形、復古或賽博，或者樹木茂密。我並不介意任何形式的建築，但我確實相信社會需要建築來提供更多的視覺營養。",[],{},{"nodeType":143,"data":5413,"content":5414},{},[5415],{"nodeType":147,"value":5416,"marks":5417,"data":5418},"現在我們對大腦的認識加深了，逐漸明白到我們的大腦需要視覺複雜性。每隔幾秒鐘，我們就需要數百萬位元的資訊。如果在公共場合，大腦缺乏這種視覺複雜性，人就會感到壓力。真是奇怪。",[],{},{"nodeType":143,"data":5420,"content":5421},{},[5422],{"nodeType":147,"value":5423,"marks":5424,"data":5425},"我們一直以為少即是平靜，但在街頭卻不然。在我們的街道和城市裡，當一切變少，整個城市都是單一、無盡的光鮮亮麗、嚴肅、順滑、平淡無奇的環境，你的身體就會感到壓力。你的皮質醇水平會上升，而這正是一些研究開始關注的——這很荒謬，因為像石油和天然氣這樣龐大的行業竟然才剛剛開始衡量自己對社會的影響力。",[],{},{"nodeType":143,"data":5427,"content":5428},{},[5429],{"nodeType":147,"value":5430,"marks":5431,"data":5432},"我們正處於一個令人興奮的時代。我希望它能為數百萬渴望創造美好事物、並深明他們肩負成本效益責任的設計師、城市規劃師和建築師提供支持。",[],{},{"nodeType":143,"data":5434,"content":5435},{},[5436],{"nodeType":147,"value":5437,"marks":5438,"data":5439},"社會說，多花點錢，讓你的建築隔熱效果好一點; 多花點錢，生產替代能源，就能打造低碳建築。然而，我們卻沒有把同樣的注意力給予建築的視覺美感，因為從未有過關於建築應該更親民，而且可以成為公共生活之牆的公眾討論。",[],{},{"nodeType":143,"data":5441,"content":5442},{},[5443],{"nodeType":147,"value":5444,"marks":5445,"data":5446},"人們會說:「噢，地方感很重要。」這通常是指乏味建築外的雕塑或樹木——當然這些也很重要。但地方的完整面貌是所有這些的總和。你不能忽視公共生活的巨大牆壁，也就是建築物的表面，而我們卻在否認一些非常簡單直接的事物。",[],{},{"nodeType":143,"data":5448,"content":5449},{},[5450,5454],{"nodeType":147,"value":5233,"marks":5451,"data":5453},[5452],{"type":290},{},{"nodeType":147,"value":5455,"marks":5456,"data":5457},"你指出美麗與無聊之間的區別非常重要，因為有時在亞洲——我想到的是香港，也許還有曼谷——在街道層面上，雖然有些地方我不會稱之為美麗，但卻以一種奇怪而有趣的方式使人著迷。",[],{},{"nodeType":143,"data":5459,"content":5460},{},[5461,5465],{"nodeType":147,"value":4899,"marks":5462,"data":5464},[5463],{"type":290},{},{"nodeType":147,"value":5466,"marks":5467,"data":5468},"例如上環有時候氣味強烈! 你越街漫步，到處都是海味——但這是多麼可喜，讓你感到這裡充滿活力。你不必說它美麗，但它絕對是世上最美的地方之一! 現在海味變少了，但上環仍擁有一種質感，如果我們要打造一個我們在乎的空間，這種魅力是不可或缺的，那我們就不會經常把地方推倒重來。",[],{},{"nodeType":143,"data":5470,"content":5471},{},[5472],{"nodeType":147,"value":5473,"marks":5474,"data":5475},"讀者可能會說:「你在嘗試美化一切——這根本不是我們這個時代最大、最逼切的問題。」",[],{},{"nodeType":143,"data":5477,"content":5478},{},[5479],{"nodeType":147,"value":5480,"marks":5481,"data":5482},"我也能理解大家有這個想法。但是，我們行業的骯髒秘密是大興土木帶來的碳排放。社會經常討論的飛行碳排放，約佔溫室氣體減量行動的2.1%。但建築——建造、拆除、再建造更多乏味的建築——的碳排放量是這個數字的五倍，而我們對此討論得不夠。",[],{},{"nodeType":143,"data":5484,"content":5485},{},[5486],{"nodeType":147,"value":5487,"marks":5488,"data":5489},"讓我感到振奮的是，你突然意識到，永續性最終是愛。它並非傳統的衡量標準。你不能告訴我某樣東西是可持續的。真正能夠維繫事物的，是人們是否在乎它——並願意修復、調整和改造它。",[],{},{"nodeType":3576,"data":5491,"content":5514},{"target":5492},{"metadata":5493,"sys":5496,"fields":5504},{"tags":5494,"concepts":5495},[],[],{"space":5497,"id":5499,"type":212,"createdAt":5500,"updatedAt":5501,"environment":5502,"publishedVersion":51,"revision":1123,"locale":31},{"sys":5498},{"type":14,"linkType":15,"id":16},"4XWkjSNmhixtm74SjuDzpj","2025-12-08T12:32:37.901Z","2025-12-08T12:45:23.068Z",{"sys":5503},{"id":23,"type":14,"linkType":24},{"title":5505,"description":4532,"file":5506},"images-018",{"url":5507,"details":5508,"fileName":5513,"contentType":228},"\u002F\u002Fimages.ctfassets.net\u002F2urh0izv0sep\u002F4XWkjSNmhixtm74SjuDzpj\u002F4d12e3206b170ea65ef0eb8989b0fa81\u002Fimages-018.png",{"size":5509,"image":5510},1060723,{"width":5511,"height":5512},1261,871,"images-018.png",[],{"nodeType":143,"data":5516,"content":5517},{},[5518],{"nodeType":147,"value":5519,"marks":5520,"data":5521},"Tobias Berger指向Heatherwick (海瑟尉) 工作室內的倫敦雙層巴士模型。",[],{},{"nodeType":143,"data":5523,"content":5524},{},[5525,5529],{"nodeType":147,"value":4887,"marks":5526,"data":5528},[5527],{"type":290},{},{"nodeType":147,"value":5530,"marks":5531,"data":5532},"我已經有一段時間沒搭過倫敦的雙層巴士了。香港當然也有那些極具魅力的雙層電車，而那可是我常坐的。",[],{},{"nodeType":143,"data":5534,"content":5535},{},[5536,5540],{"nodeType":147,"value":4899,"marks":5537,"data":5539},[5538],{"type":290},{},{"nodeType":147,"value":5541,"marks":5542,"data":5543},"那是我們設計倫敦巴士時的靈感。",[],{},{"nodeType":143,"data":5545,"content":5546},{},[5547,5551],{"nodeType":147,"value":4887,"marks":5548,"data":5550},[5549],{"type":290},{},{"nodeType":147,"value":5552,"marks":5553,"data":5554},"真的嗎?",[],{},{"nodeType":143,"data":5556,"content":5557},{},[5558,5562],{"nodeType":147,"value":4899,"marks":5559,"data":5561},[5560],{"type":290},{},{"nodeType":147,"value":5563,"marks":5564,"data":5565},"香港的電車有兩道樓梯——倫敦的老式巴士只有一道。香港的電車很小，但卻有兩道樓梯，而且人們都會使用。這證明即使在狹小的空間裡，也能創造出有靈魂的東西。",[],{},{"nodeType":143,"data":5567,"content":5568},{},[5569],{"nodeType":147,"value":5570,"marks":5571,"data":5572},"此外，還有木材、金屬、推拉窗的運用......從結構上來說，這看似是不可能的。當你退後一步看著它們時，你會想: 輪子在哪裡?然後你會想，它們是怎麼保持不動的? 尤其是在香港颱風肆虐的時候......對我來說，它們太不可思議了，我希望它們永遠運行下去。",[],{},{"nodeType":143,"data":5574,"content":5575},{},[5576,5580],{"nodeType":147,"value":4887,"marks":5577,"data":5579},[5578],{"type":290},{},{"nodeType":147,"value":5581,"marks":5582,"data":5583},"他們不會讓它們停下來的——天星小輪和叮叮......它們已經是香港不可或缺的一部分了。",[],{},{"nodeType":143,"data":5585,"content":5586},{},[5587],{"nodeType":147,"value":5588,"marks":5589,"data":5590},"稍微換個話題: 你在亞洲有甚麼期待的項目嗎? 又或者說，亞洲理想的項目是什麼樣的呢? 一座城市? 一座塔樓?",[],{},{"nodeType":143,"data":5592,"content":5593},{},[5594,5598],{"nodeType":147,"value":4899,"marks":5595,"data":5597},[5596],{"type":290},{},{"nodeType":147,"value":5599,"marks":5600,"data":5601},"我是被需求所驅動的，並努力創造能夠為人們帶來改變的地方。我與一個250人的團隊一起工作，感覺不僅僅是在表達自己。所以我們會一起思考真正的機會和真正的需求。",[],{},{"nodeType":3576,"data":5603,"content":5627},{"target":5604},{"metadata":5605,"sys":5608,"fields":5616},{"tags":5606,"concepts":5607},[],[],{"space":5609,"id":5611,"type":212,"createdAt":5612,"updatedAt":5613,"environment":5614,"publishedVersion":51,"revision":1123,"locale":31},{"sys":5610},{"type":14,"linkType":15,"id":16},"2PFxiOpYN5heeJ3qALDV7q","2025-12-08T12:32:37.923Z","2025-12-08T12:48:26.578Z",{"sys":5615},{"id":23,"type":14,"linkType":24},{"title":5617,"description":5618,"file":5619},"images-019","Azabudai, Tokyo 東京 麻布台之丘\n(image courtesy of Heatherwick Studio; photography: Raquel 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是的，你正在從事最糟糕的工作。實際上，這些環境需要感謝那些人們——感謝他們走進來，社會需要說:「謝謝你們為我們所做的一切」，因為我們都有一個共同點，那就是我們都會變老。",[],{},{"nodeType":3576,"data":5650,"content":5674},{"target":5651},{"metadata":5652,"sys":5655,"fields":5663},{"tags":5653,"concepts":5654},[],[],{"space":5656,"id":5658,"type":212,"createdAt":5659,"updatedAt":5660,"environment":5661,"publishedVersion":26,"revision":1123,"locale":31},{"sys":5657},{"type":14,"linkType":15,"id":16},"2JrNXtHQUcwgGaSXOZ9hpE","2025-12-08T12:32:37.911Z","2025-12-08T12:48:54.928Z",{"sys":5662},{"id":23,"type":14,"linkType":24},{"title":5664,"description":5665,"file":5666},"images-020","Thomas Heatherwick Studio 工作室 (photography: Thierry Bal)",{"url":5667,"details":5668,"fileName":5673,"contentType":228},"\u002F\u002Fimages.ctfassets.net\u002F2urh0izv0sep\u002F2JrNXtHQUcwgGaSXOZ9hpE\u002F6c9ec656f3a59455ef68f11418c6d985\u002Fimages-020.png",{"size":5669,"image":5670},5703571,{"width":5671,"height":5672},2491,1758,"images-020.png",[],{"nodeType":143,"data":5676,"content":5677},{},[5678],{"nodeType":147,"value":5679,"marks":5680,"data":5681},"這並非甚麼光鮮事情，卻可能帶來巨大的改變。然而，我們現有的經濟模式卻難以介入。我們的經濟模式只熱衷於向美術館投入大量資金。試想一下，如果你能將投入新建美術館的資金中的一部分，分攤到眾多護老院，那會是怎樣一番景象。你就能打造出世界上最好的護老院——它們能夠歌頌生命的精彩，並讓我們感謝那些在生命盡頭，對我們珍而重之的照顧者。",[],{},{"nodeType":143,"data":5683,"content":5684},{},[5685],{"nodeType":147,"value":5686,"marks":5687,"data":5688},"在亞洲，我希望能在影響最多人的地方工作——也就是面向大眾的場所。醫療保健模式各有不同，但健康和教育領域是為人們未來的生活奠定基礎的領域——它們讓人們有機會看到，看待世界的方式是如此多樣化。我們許多人作為個體，都承受著要我們必須屈從於成規的壓力。那些告訴我們生命另有出路的項目，那些當我們感到格格不入時，讓我們重新感到有歸屬感的場所——實際上，這些幾乎是最慷慨的。",[],{},{"nodeType":143,"data":5690,"content":5691},{},[5692],{"nodeType":147,"value":5693,"marks":5694,"data":5695},"因此，我最想做的是那些我們從未嘗試過的事情。我很樂意在日本與東京六本木的人合作，感受那裡非凡的工藝。這裡有這麼多的文化淵源，我覺得我的工作是去放大它，而不是忽略它，並強加一些西方模式。",[],{},{"nodeType":143,"data":5697,"content":5698},{},[5699],{"nodeType":147,"value":5700,"marks":5701,"data":5702},"所以，從某種意義上說，我把自己看作一個放大器，試圖去發現一些東西，放大它，拉伸它，給它注入氧氣。我希望我們能夠為未來幾十年的許多項目賦予特殊的意義。",[],{},[4640],{"metadata":5705,"sys":5708,"fields":5713},{"tags":5706,"concepts":5707},[],[],{"space":5709,"id":3507,"type":212,"createdAt":3508,"updatedAt":3509,"environment":5711,"publishedVersion":71,"revision":1123,"locale":31},{"sys":5710},{"type":14,"linkType":15,"id":16},{"sys":5712},{"id":23,"type":14,"linkType":24},{"title":3513,"description":219,"file":5714},{"url":3515,"details":5715,"fileName":3521,"contentType":228},{"size":3517,"image":5716},{"width":3519,"height":3520},{"metadata":5718,"sys":5721,"fields":5731},{"tags":5719,"concepts":5720},[],[],{"space":5722,"id":5724,"type":18,"createdAt":5725,"updatedAt":5726,"environment":5727,"publishedVersion":70,"revision":71,"contentType":5729,"locale":31},{"sys":5723},{"type":14,"linkType":15,"id":16},"PuQ9mbgIaQtwJdNqAOiem","2025-11-06T22:21:27.551Z","2025-12-19T15:17:38.770Z",{"sys":5728},{"id":23,"type":14,"linkType":24},{"sys":5730},{"type":14,"linkType":29,"id":3211},{"name":5732,"slug":5733,"issue":3215,"title":5732,"author":5734,"locationName":5735,"hero":5736,"sections":5790,"thumbnailImage":6726},"Meet Me at SOGO","meet-me-at-sogo","Jaime Chu","Hong Kong",{"metadata":5737,"sys":5740,"fields":5750},{"tags":5738,"concepts":5739},[],[],{"space":5741,"id":5743,"type":18,"createdAt":5744,"updatedAt":5745,"environment":5746,"publishedVersion":2930,"revision":26,"contentType":5748,"locale":31},{"sys":5742},{"type":14,"linkType":15,"id":16},"sMTP3hsfBbbUhzOIjpjJE","2025-12-10T10:54:45.056Z","2025-12-10T12:58:54.367Z",{"sys":5747},{"id":23,"type":14,"linkType":24},{"sys":5749},{"type":14,"linkType":29,"id":3231},{"name":5751,"title":5732,"imageOption":3499,"imagesDisplay":5752,"imageRatio":5755,"image":5756,"imageSecond":5769},"Sogo hero block",[3545,3546,5753,5754],"image 1 show description","image 1 description color 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Me at SOGO article text",{"nodeType":139,"data":5809,"content":5810},{},[5811,5819,5826,5833,5858,5884,5891,5898,5905,5912,5937,5944,5993,6000,6007,6023,6047,6054,6061,6068,6102,6118,6160,6175,6191,6216,6223,6248,6264,6298,6323,6330,6383,6397,6404,6411,6418,6422,6439,6445,6471,6477,6484,6490,6506,6512,6559,6565,6580,6586,6612,6618,6625,6631,6645,6651,6676,6682,6699,6705,6720],{"nodeType":5812,"data":5813,"content":5814},"heading-3",{},[5815],{"nodeType":147,"value":5816,"marks":5817,"data":5818},"Once the emblem of Hong Kong’s middle-class dreams, SOGO was more than a department store – it was a stage for aspiration, service, and desire. In this essay, Jaime Chu revisits its mirrored corridors to ask what the city’s rituals of consumption reveal about modern life and how we learned to want. ",[],{},{"nodeType":143,"data":5820,"content":5821},{},[5822],{"nodeType":147,"value":5823,"marks":5824,"data":5825},"It was the last weeks of November, and fall was fumbling through its way towards winter. I needed a light down comforter to replace my summer blanket, advertised last season as both ‘cooling’ and ‘made for air conditioning’. Hong Kong is my fourth city in three years. Living itinerantly as an adult means constantly searching for things others have long ago settled on, either by inheritance or by accumulation: a dignified mattress, a home entertainment system, contacts for a dentist and hairdresser. ",[],{},{"nodeType":143,"data":5827,"content":5828},{},[5829],{"nodeType":147,"value":5830,"marks":5831,"data":5832},"I was in the market for a down comforter that might replicate the feeling of being swaddled by a piece of soft, fluffy cloud. It seemed like a problem that IKEA, Muji, or even HKTVmall could easily solve. But I was determined not to replicate my reliance on the slackness of global mass manufacturing that had followed me from city to city as I reassembled my life each time according to a post-globalisation start-up apartment protocol – one that guarantees a neutral, familiar line of basic household products would transition seamlessly wherever I ended up. Hong Kong, after all, was historically a textile hub. What if there were still a whisper network of affordable, good-quality bedding suppliers? ",[],{},{"nodeType":143,"data":5834,"content":5835},{},[5836,5840,5845,5849,5854],{"nodeType":147,"value":5837,"marks":5838,"data":5839},"One night, my friend Charis weighed in, ‘This might sound very ",[],{},{"nodeType":147,"value":5841,"marks":5842,"data":5844},"see lai",[5843],{"type":808},{},{"nodeType":147,"value":5846,"marks":5847,"data":5848},", but have you considered SOGO?’ ",[],{},{"nodeType":147,"value":5850,"marks":5851,"data":5853},"See lai",[5852],{"type":808},{},{"nodeType":147,"value":5855,"marks":5856,"data":5857},": wives who spend too much time thinking about their home; clearly, they would know something I don’t. ",[],{},{"nodeType":143,"data":5859,"content":5860},{},[5861,5865,5871,5875,5880],{"nodeType":147,"value":5862,"marks":5863,"data":5864},"I also don’t know anyone my age who still goes to SOGO. My most salient memory of the landmark department store is shopping there with my mum as a child, freed from the usual frictions of moving about as a heterodox family unit of four, following our baseless desires and being coaxed into breezy transactions by a crew of smooth-faced elevator girls in skirt suits and bowler hats: young, uniform, and otherworldly.",[],{},{"nodeType":147,"value":5866,"marks":5867,"data":5870},"1",[5868],{"type":5869},"superscript",{},{"nodeType":147,"value":5872,"marks":5873,"data":5874}," Now, as an adult, going to SOGO – eating ",[],{},{"nodeType":147,"value":5876,"marks":5877,"data":5879},"yōshoku ",[5878],{"type":808},{},{"nodeType":147,"value":5881,"marks":5882,"data":5883},"pasta at the UCC Coffee Shop on the fourth floor or getting my eyebrows shaped by a possibly overpriced and rigidly professional technician – sounds like a funny and ironic idea, as long as you bypass the luxury designer counters at street level and focus instead on the banal and the quotidian. Charis gives genius recommendations because she is very online but also locally aware, very married but not (yet) resigned on taste, respects labour but anti-work. I can always count on her for pragmatic solutions to my aesthetic – which is often economic – problems. ",[],{},{"nodeType":143,"data":5885,"content":5886},{},[5887],{"nodeType":147,"value":5888,"marks":5889,"data":5890},"Established in Osaka in 1919, SOGO began as a second-hand kimono shop dating back to 1830. By the 1980s, it had expanded into a department-store chain across Japan and abroad, with branches at one point in Taiwan, Singapore, Malaysia, Indonesia, and China. Since SOGO opened in Hong Kong in 1985, the Causeway Bay flagship store has grown to occupy an entire block, with twelve floors of retail devoted to everything from clothing and homeware to toys and massage chairs. A beauty salon and a bookstore operate under the guise of a members’ club on the upper floors, while a food hall occupies the basement, following the conventional Japanese department-store layout. From the start, SOGO advertised itself as a Japanese-style one-stop shop for a fashionable and high-quality lifestyle, differentiating itself by featuring cutting-edge local designers such as Judy Mann and William Tang alongside international brands. ",[],{},{"nodeType":143,"data":5892,"content":5893},{},[5894],{"nodeType":147,"value":5895,"marks":5896,"data":5897},"By virtue of having everything under one roof, SOGO, like all department stores, minimised the friction of going in and out of individual shops and created the feeling of variety within a tightly predetermined selection. The branded architecture of the store encoded both the performative normalcy of shopping as a destination activity – modern, tasteful, and pleasantly purposeless – and the cosmopolitan promise of access – at once aspirational and mainstream – to imported household goods against a strong yen, unlike the local Wing On or the mainland-oriented Yue Hwa. Before the yen’s downward spiral and budget airlines made Japan directly accessible, Japanese retail in Hong Kong offered a delicate balance between novelty and familiarity, an appetite any soft power would envy. ",[],{},{"nodeType":143,"data":5899,"content":5900},{},[5901],{"nodeType":147,"value":5902,"marks":5903,"data":5904},"‘Meet me at SOGO’ was the beginning and end of countless urban lives in Hong Kong. The iconic cerulean-blue logo in the shape of the Windows hourglass waiting cursor marks the intersection of Hennessy Road and Lockhart Road, visible whichever way you arrive in Causeway Bay: by foot, tram, or bus. For a child raised in a suburban area still unpenetrated by the MTR in the 1990s and 2000s, Causeway Bay embodied the image of a city as a modern world. Ruthlessly crowded, commercial, and somehow more central than Central, Causeway Bay represented the enviable lives of independent adults and older teenage friends who could eat out during lunch hour at school or spend pocket money after school on snacks or stationery. ",[],{},{"nodeType":143,"data":5906,"content":5907},{},[5908],{"nodeType":147,"value":5909,"marks":5910,"data":5911},"For an eleven-year-old, to ‘go shopping after dinner’ struck me as the hallmark of chic, when after-dinner shopping near my home had meant the bargain-hunting at JHC and ParknShop. And for the longest time, I believed that ‘Times Square’ referred only to the one in Causeway Bay, and that the Shibuya-style crossing in front of SOGO was a defining feature of all cities. (Imagine my disappointment when I eventually visited Time Square in New York, and my naïve awe on encountering Shibuya Crossing in Tokyo.) Causeway Bay, being the closest urban district by bus, was where my parents took me to the doctor, shopped for school supplies, and went to the cinema. The suburbs were where we lived, but the city was where life happened. ",[],{},{"nodeType":143,"data":5913,"content":5914},{},[5915,5919,5924,5928,5933],{"nodeType":147,"value":5916,"marks":5917,"data":5918},"Still, as a child of the suburbs without first-hand intel from the downtown streets, I knew little of mobile phone models and designer items, or the latest pop-culture and media obsessions. I rarely knew what was available to ask for or what I was missing out on. So I could hardly imagine the reason my mom took me seriously one day, when I must have been six or seven years old, I told her I wanted a skirt. Having no anticipation of what naming a desire actually entailed, without knowing what kind of skirt I even wanted or why I had wanted a skirt, I was bewildered and then elated when my mom took me on the bus to SOGO one day after school, where we spent the afternoon roaming the floors, trying clothes on until we ended up with not one but two skirts. This was definitely not like when we went shopping at the neighbourhood mall, where excitement would quickly be tempered by the ",[],{},{"nodeType":147,"value":5920,"marks":5921,"data":5923},"see lai ",[5922],{"type":808},{},{"nodeType":147,"value":5925,"marks":5926,"data":5927},"maths of price-comparing and inter-family negotiations of ice cream versus Sara Lee cake for dessert. At SOGO, all that was asked was: ‘",[],{},{"nodeType":147,"value":5929,"marks":5930,"data":5932},"Do ",[5931],{"type":808},{},{"nodeType":147,"value":5934,"marks":5935,"data":5936},"you like it?’ I must have been too astonished at the novelty of shopping together – of having a wish fulfilled, a desire legitimated – to know how to behave that day. Did I even say thank you? ",[],{},{"nodeType":143,"data":5938,"content":5939},{},[5940],{"nodeType":147,"value":5941,"marks":5942,"data":5943},"To re-learn how to navigate the city when I moved back was to learn how to shop. Shopping in Hong Kong for me feels less about conspicuous lifestyle than it is about negotiating survival. Consumerism is built into the way we move through the city: footbridges linking residential buildings, markets, and MTR stations; restaurants expanding seating into public space through legal loopholes; underused public space embedded in apparently un-encroachable private developments; megacomplexes where you might accomplish all kinds of tasks in a day, from ice-skating lessons to filing government paperwork, without ever having to leave an air-conditioned glass box. Even getting to the ferry pier to go home every day required passing through the IFC mall and its carousel of products I neither need nor could afford. What is made visible and material – shaped by the rules and regulations of commerce and private property – becomes the emotional texture of our built world. For all its impersonality, it contains the things we cannot help but become attached to. I wish I had a meet-cute story from an independently-run vinyl-bookstore-coffee co-op, but all I have formed is a mild attachment to the steely efficiency of the staff who handles the morning rush at my local McCafé. ",[],{},{"nodeType":5945,"data":5946,"content":5992},"embedded-entry-block",{"target":5947},{"metadata":5948,"sys":5951,"fields":5962},{"tags":5949,"concepts":5950},[],[],{"space":5952,"id":5954,"type":18,"createdAt":5955,"updatedAt":5956,"environment":5957,"publishedVersion":26,"revision":1123,"contentType":5959,"locale":31},{"sys":5953},{"type":14,"linkType":15,"id":16},"6ETjqXV4BkBTYQ1SzGSNRu","2025-12-19T09:21:38.165Z","2025-12-19T09:21:44.157Z",{"sys":5958},{"id":23,"type":14,"linkType":24},{"sys":5960},{"type":14,"linkType":29,"id":5961},"componentGallery",{"name":5963,"images":5964,"visibility":5987,"galleryFormat":5988,"gallerySize":5989,"gridColumns":5866,"gridSpacing":5990,"scrollImageSize":5989,"imageOptions":5991},"Sogo scmp image",[5965],{"metadata":5966,"sys":5969,"fields":5976},{"tags":5967,"concepts":5968},[],[],{"space":5970,"id":5972,"type":212,"createdAt":5973,"updatedAt":5973,"environment":5974,"publishedVersion":51,"revision":216,"locale":31},{"sys":5971},{"type":14,"linkType":15,"id":16},"65QOEzmo6AD5Oq8eDx3LQs","2025-12-19T09:21:34.613Z",{"sys":5975},{"id":23,"type":14,"linkType":24},{"title":5977,"description":5978,"file":5979},"Sogo scmp","The SOGO department, opened just above the MTR station in Causeway, has to close its doors temporarily since customers kept pouring through the doors to get access to the station to try the new Island Line (courtesy of SCMP; photography by Robin Lam, 31 May 1985)",{"url":5980,"details":5981,"fileName":5986,"contentType":228},"\u002F\u002Fimages.ctfassets.net\u002F2urh0izv0sep\u002F65QOEzmo6AD5Oq8eDx3LQs\u002F8196838ee7667dfab70e36e46ad7c272\u002Fimages-022.png",{"size":5982,"image":5983},8578735,{"width":5984,"height":5985},2955,1902,"images-022.png","Mobile and desktop","grid","large","small",[4640],[],{"nodeType":143,"data":5994,"content":5995},{},[5996],{"nodeType":147,"value":5997,"marks":5998,"data":5999},"There would be no SOGO without Causeway Bay. The area first became what we now recognise as Causeway Bay – a thriving commercial hub on expensive real estate – in 1923, when Hawaiian-born Hong Kong businessman Lee Hysan purchased large plots of land from Jardine Matheson, the British conglomerate. The site at East Point lay slightly east of today’s SOGO and encompassed what are now Jardine’s Crescent, Yee Wo Street, and East Point Road. ",[],{},{"nodeType":143,"data":6001,"content":6002},{},[6003],{"nodeType":147,"value":6004,"marks":6005,"data":6006},"Sold to Jardine Matheson in Hong Kong’s first land sale in 1841, East Point was named after a cape in the Victoria Harbour that marked the eastern end of Victoria City. Jardine Matheson built sugar refineries, storage facilities, and cotton mills in East Point. Hysan originally planned to add an opium refinery to his new holdings but instead built Lee Gardens, a theme park and entertainment district in the hilly area. The site was later flattened and redeveloped into shopping and office complexes as Hysan continued to acquire neighbouring plots. Today, Hysan Development owns over 2.4 million square feet of office space and remains the largest commercial landlord in Causeway Bay. ",[],{},{"nodeType":143,"data":6008,"content":6009},{},[6010,6014,6019],{"nodeType":147,"value":6011,"marks":6012,"data":6013},"After the Second World War, as Japan’s domestic retail market became increasingly saturated, Japanese conglomerates began to eye expansion into Hong Kong, drawn by its fast-growing economy and light government regulation.",[],{},{"nodeType":147,"value":6015,"marks":6016,"data":6018},"2",[6017],{"type":5869},{},{"nodeType":147,"value":6020,"marks":6021,"data":6022}," In 1960, Daimaru planted itself at the corner of Paterson Street and Great George Street in Causeway Bay, where a soybean warehouse and Vitasoy factory once stood. Over the next three decades, Matsuzakaya, Mitsukoshi, Seibu, and SOGO followed, collectively introducing and mainstreaming Japanese culture and consumer goods in Hong Kong. At its height, Mitsukoshi even generated over 40% of its total overseas revenue from the Hong Kong store. For Japanese workers, taking up an overseas position offered an appealing alternative career path, and this brought hostess clubs, izakayas, and other Japanese amenities as they settled into Hong Kong. Much of the commercial landscape in Causeway Bay and Tsim Sha Tsui was shaped by this influx, and Causeway Bay earned the moniker of ‘Little Ginza’. ",[],{},{"nodeType":143,"data":6024,"content":6025},{},[6026,6030,6034,6038,6043],{"nodeType":147,"value":6027,"marks":6028,"data":6029},"SOGO was amongst the last to arrive in Hong Kong, but it made up for lost time with a prominent ",[],{},{"nodeType":147,"value":6031,"marks":6032,"data":6033},"facade",[],{},{"nodeType":147,"value":6035,"marks":6036,"data":6037},". The year of its opening, 1985, was also significant in Hong Kong history. The opening day on 31 May coincided with the inaugural operation of the MTR Island Line running beneath the SOGO building at 555 Hennessy Road. That year, one year after the Sino-British Joint Declaration was signed,",[],{},{"nodeType":147,"value":6039,"marks":6040,"data":6042},"3",[6041],{"type":5869},{},{"nodeType":147,"value":6044,"marks":6045,"data":6046}," the face of Hong Kong’s quintessential infrastructure – Exchange Square, the High Court Building, functional constituencies in the Legislative Council, and the Hong Kong Basic Law Drafting Committee – all began to take shape. ",[],{},{"nodeType":143,"data":6048,"content":6049},{},[6050],{"nodeType":147,"value":6051,"marks":6052,"data":6053},"This was the Hong Kong I was born into, yet there was already a sense of being too late – in the way things were talked about, in the way I could never be sure what I had missed. Sure, SOGO may have been an undeniable, modern landmark, but it meant little to my mother, who had already seen the best days of Daimaru (closed 1998) and Yaohan (closed 1997). I wonder if this, too, was a quintessential urban condition: your experience would never measure up to someone else’s memory. ",[],{},{"nodeType":143,"data":6055,"content":6056},{},[6057],{"nodeType":147,"value":6058,"marks":6059,"data":6060},"At Christmas in 1998, my aunt from New York visited, and our family went out to dinner in Causeway Bay. Before efficient LED displays and ESG guidelines dimmed the spectacle, the criminal excess of Christmas lights lining both sides of Hennessy Road was something to be proud of. We would cut through Jardine’s Bazaar to reach Lee Gardens, circle back on the other side of Times Square through the noodle shops and bars on Tang Lung Street and Russell Street, and somehow wind up at Gooseneck Bridge, where its bazaar of old women was ready to perform a ceremonious Cantonese ‘villain-hitting’ curse on your enemy for a small fee. ",[],{},{"nodeType":143,"data":6062,"content":6063},{},[6064],{"nodeType":147,"value":6065,"marks":6066,"data":6067},"Arriving at Gooseneck Bridge meant the night was over. We would wait for the bus that came every 15 minutes to take us home through the tunnel. The city ended here. ",[],{},{"nodeType":5945,"data":6069,"content":6101},{"target":6070},{"metadata":6071,"sys":6074,"fields":6084},{"tags":6072,"concepts":6073},[],[],{"space":6075,"id":6077,"type":18,"createdAt":6078,"updatedAt":6079,"environment":6080,"publishedVersion":71,"revision":1123,"contentType":6082,"locale":31},{"sys":6076},{"type":14,"linkType":15,"id":16},"ASTNuzaJw1SujeKW7fj4H","2025-12-10T12:21:45.097Z","2025-12-10T12:22:22.684Z",{"sys":6081},{"id":23,"type":14,"linkType":24},{"sys":6083},{"type":14,"linkType":29,"id":5961},{"name":6085,"visibility":5987,"images":6086,"galleryFormat":5988,"gallerySize":5989,"gridColumns":5866,"gridSpacing":5990,"scrollImageSize":5989,"imageOptions":6100},"Meet Me at SOGO Miwa Yanagi, Elevator Girl House",[6087],{"metadata":6088,"sys":6091,"fields":6096},{"tags":6089,"concepts":6090},[],[],{"space":6092,"id":3082,"type":212,"createdAt":3083,"updatedAt":3084,"environment":6094,"publishedVersion":3034,"revision":90,"locale":31},{"sys":6093},{"type":14,"linkType":15,"id":16},{"sys":6095},{"id":23,"type":14,"linkType":24},{"title":3088,"description":3089,"file":6097},{"url":3091,"details":6098,"fileName":3097,"contentType":482},{"size":3093,"image":6099},{"width":3095,"height":3096},[4640],[],{"nodeType":143,"data":6103,"content":6104},{},[6105,6109,6114],{"nodeType":147,"value":6106,"marks":6107,"data":6108},"If I had missed the memo to take the hiragana lessons everybody else seemed to have taken at some point before age 25, it didn’t take long after I moved back to Hong Kong to realise I could hack my way through almost any conversation by intimating Japan: the redeye flight schedule to Haneda, ",[],{},{"nodeType":147,"value":6110,"marks":6111,"data":6113},"konbini ",[6112],{"type":808},{},{"nodeType":147,"value":6115,"marks":6116,"data":6117},"meals and pharmacy skincare discoveries, the filming locations of canonical music videos and TV shows. Knowing this much about something I can’t tell if I care about is embarrassing, but the alternative is worse: listening to someone else mansplain Japan. The only way to outweeb the weebs is to become a more dedicated, more informed weeb. ",[],{},{"nodeType":143,"data":6119,"content":6120},{},[6121,6125,6130,6134,6139,6142,6147,6151,6156],{"nodeType":147,"value":6122,"marks":6123,"data":6124},"The summer Miu Miu single-handedly populated high street with the office normcore princess look, I decided it was time to pose a counterargument by tracing the aesthetic influence of 1990s East Asian capitalist-modern optimism through the canon of Japanese TV romance: ",[],{},{"nodeType":147,"value":6126,"marks":6127,"data":6129},"Long Vacation",[6128],{"type":808},{},{"nodeType":147,"value":6131,"marks":6132,"data":6133},", ",[],{},{"nodeType":147,"value":6135,"marks":6136,"data":6138},"Love Generation",[6137],{"type":808},{},{"nodeType":147,"value":6131,"marks":6140,"data":6141},[],{},{"nodeType":147,"value":6143,"marks":6144,"data":6146},"Tokyo Love Story ",[6145],{"type":808},{},{"nodeType":147,"value":6148,"marks":6149,"data":6150},"and the like. Eventually, I found the 1992 drama ",[],{},{"nodeType":147,"value":6152,"marks":6153,"data":6155},"Tokyo Elevator Girl",[6154],{"type":808},{},{"nodeType":147,"value":6157,"marks":6158,"data":6159},". A version survives online in only 360p on Youtube, digitised from someone’s VHS recording with Chinese subtitles. ",[],{},{"nodeType":143,"data":6161,"content":6162},{},[6163,6167,6171],{"nodeType":147,"value":6164,"marks":6165,"data":6166},"In ",[],{},{"nodeType":147,"value":6152,"marks":6168,"data":6170},[6169],{"type":808},{},{"nodeType":147,"value":6172,"marks":6173,"data":6174},", the eponymous character Tsukasa (played by a 19-year-old Rie Miyazawa) leaves her small island in Shikoku for Tokyo and finds work as an elevator operator at a SOGO in Tama, south-western Tokyo (closed 2000). You can immediately tell SOGO was a big deal from the way the golden boy from the advertising department berates the small printer for botching a bulk printing job of the new season’s promotional posters: if they cannot reprint overnight, SOGO is happy to take its business elsewhere. ",[],{},{"nodeType":143,"data":6176,"content":6177},{},[6178,6182,6187],{"nodeType":147,"value":6179,"marks":6180,"data":6181},"At her new job, Tsukasa befriends an information-desk girl who became the centre of a scandal when her affair with the married store manager was exposed. The consequences presage Tsukasa’s own romantic dilemma that plays out in the rest of the series when she falls in love with an earnest, married man from Osaka (the provincial foil to cosmopolitan Tokyo) who works for that same printer contracted by the ad department. The personal and work lives of these characters intersect in SOGO’s backrooms and elevators – spaces portrayed as quintessentially urban, where ‘people walk around, find themselves standing before and inside piles of objects, experience the intertwining of the threads of their activities until they become unrecognisable, entangle situations in such a way that they engender unexpected situations.’",[],{},{"nodeType":147,"value":6183,"marks":6184,"data":6186},"4",[6185],{"type":5869},{},{"nodeType":147,"value":6188,"marks":6189,"data":6190}," Anyone can run into anyone; anything can happen. ",[],{},{"nodeType":143,"data":6192,"content":6193},{},[6194,6198,6203,6207,6212],{"nodeType":147,"value":6195,"marks":6196,"data":6197},"Is that what girls want: to present impeccably at work and enjoy the chaos of life after work? As an occupation, elevator operators had originally served a functional role when manual elevators required technical skill and knowledge to operate. In 1929, when women were mostly kept out of the workforce, the Ueno branch of Matsuzakaya in Tokyo became the first department store to hire female elevator operators, dressed in Western-style skirt-suit uniforms rather than Japanese ",[],{},{"nodeType":147,"value":6199,"marks":6200,"data":6202},"wafuku ",[6201],{"type":808},{},{"nodeType":147,"value":6204,"marks":6205,"data":6206},"to signify the international and the modern.",[],{},{"nodeType":147,"value":6208,"marks":6209,"data":6211},"5",[6210],{"type":5869},{},{"nodeType":147,"value":6213,"marks":6214,"data":6215}," ",[],{},{"nodeType":143,"data":6217,"content":6218},{},[6219],{"nodeType":147,"value":6220,"marks":6221,"data":6222},"By the 1990s, elevators were fully automated and no longer required manual assistance. Automation opened up a low-skilled position with high emotional value to more young women, creating a path for women to become financially and socially independent and to participate in urban life. As a symbol of modernity for Japanese department stores, elevator operators were also the emotional core of customer relations. All-female, dressed in creamy skirt suits and chic hats, they smiled, greeted, and guided, introducing the geography of the store and presenting the daily promotions. Elevator-operator positions were highly coveted by young women across education levels. ",[],{},{"nodeType":143,"data":6224,"content":6225},{},[6226,6230,6235,6239,6244],{"nodeType":147,"value":6227,"marks":6228,"data":6229},"At the heart of ",[],{},{"nodeType":147,"value":6231,"marks":6232,"data":6234},"Tokyo Elevator Girl ",[6233],{"type":808},{},{"nodeType":147,"value":6236,"marks":6237,"data":6238},"is a tension between work and desire, between the longing that drives the characters and the labour that sustains them; there is a certain tension in the plot, hinging on everyone getting to keep their jobs.",[],{},{"nodeType":147,"value":6240,"marks":6241,"data":6243},"6",[6242],{"type":5869},{},{"nodeType":147,"value":6245,"marks":6246,"data":6247}," Tsukasa and her female customer-facing co-workers at the Tama SOGO are held to misogynistically high moral standards in their personal conduct, while an elevator girl’s decorum and emotional availability are treated as part of the department store’s assets. A woman caught in scandal, such as an affair, risks demotion to the back office, as if her personal life could tarnish the spotless market of desire that the department store represents. As part of what the department store is selling, the elevator girl must endure attention and misbehaviour with professional grace; her image of perfection as a desirable object becomes her product, and her performance of perfect desirability is her profession. ",[],{},{"nodeType":143,"data":6249,"content":6250},{},[6251,6255,6260],{"nodeType":147,"value":6252,"marks":6253,"data":6254},"The elevator girl’s agency, enabled by an independent income and urban mobility, keeps her just shy of becoming a cyborg, a body that can labour but not reproduce, an imperfect capitalist subject. Her fate is telling: when costs and efficiency eventually became a concern for the bottom line, department stores chose to retire elevator girls rather than replace them with robots. With her self-sufficiency, proximity to technology, and performance of gendered labour, the elevator girl’s enduring appeal becomes even more perfect precisely because her labourious reign was short-lived. As the printer Yoshimoto observes in the first episode, ‘Elevator girls are over; it is now the age of the flight attendants.’ Three years after this show, in 1995, ",[],{},{"nodeType":147,"value":6256,"marks":6257,"data":6259},"Chungking Express ",[6258],{"type":808},{},{"nodeType":147,"value":6261,"marks":6262,"data":6263},"shows a flight attendant as an elusive love object, while a dilettante snack-shop girl would later self-actualise by becoming one herself. ",[],{},{"nodeType":143,"data":6265,"content":6266},{},[6267,6271,6276,6280,6285,6289,6294],{"nodeType":147,"value":6268,"marks":6269,"data":6270},"The rise of the department store in the late 19th century accompanied industrialisation around the world, spawning a new commercial public. In the name of love, class differences collapse into each other on the floors of the department store: the WASP-y patron seduces the immigrant shopgirl (",[],{},{"nodeType":147,"value":6272,"marks":6273,"data":6275},"Carol",[6274],{"type":808},{},{"nodeType":147,"value":6277,"marks":6278,"data":6279},"); the aspiring artist as sales girl rejects a suave older businessman (",[],{},{"nodeType":147,"value":6281,"marks":6282,"data":6284},"Shopgirl",[6283],{"type":808},{},{"nodeType":147,"value":6286,"marks":6287,"data":6288},"); the heiress sets her sight on the star manager to protect her fortune (",[],{},{"nodeType":147,"value":6290,"marks":6291,"data":6293},"The Paradise",[6292],{"type":808},{},{"nodeType":147,"value":6295,"marks":6296,"data":6297},"). We might think that mid-century imagery of uniformed workers represented conformity and of a collectivity closer to a socialist-futurist agenda, but the attraction to the uniformed operative even after globalisation – elevator girls, flight attendants, service smiles – speaks directly to, among other perversions – why we crave ‘normalcy’. As Lauren Berlant reminds us, the desire for normalcy signals ‘crisis ordinary’: the historical present as ‘a transition that has not found its genres for moving on.’ Following the bursting of the Japanese economic bubble in the 1990s, elevator-girl positions were made redundant as department stores cut costs. As career options for women expanded, the long hours and physical demands of the job also lost their attraction. ",[],{},{"nodeType":143,"data":6299,"content":6300},{},[6301,6305,6310,6314,6319],{"nodeType":147,"value":6302,"marks":6303,"data":6304},"A 2015 news article reported that the average tenure of an elevator girl at the Pacific SOGO in Taipei was two years.",[],{},{"nodeType":147,"value":6306,"marks":6307,"data":6309},"7",[6308],{"type":5869},{},{"nodeType":147,"value":6311,"marks":6312,"data":6313}," It was hard to ascertain when the Hong Kong SOGO phased out elevator operators.",[],{},{"nodeType":147,"value":6315,"marks":6316,"data":6318},"8",[6317],{"type":5869},{},{"nodeType":147,"value":6320,"marks":6321,"data":6322}," By the time I returned, the elevator girls were no longer. ",[],{},{"nodeType":143,"data":6324,"content":6325},{},[6326],{"nodeType":147,"value":6327,"marks":6328,"data":6329},"But the elevator girl lives on, because we recognise her in someone else, again and again. ",[],{},{"nodeType":143,"data":6331,"content":6332},{},[6333,6337,6342,6346,6349,6353,6358,6362,6367,6371,6374,6378],{"nodeType":147,"value":6334,"marks":6335,"data":6336},"If we are to believe Lefebvre, 'Until the arrival of a new order, the urban will never lack an element of repression, which arises from what is hidden within it and the will to keep hidden the dramas, the latent violence, death, and the quotidian.'",[],{},{"nodeType":147,"value":6338,"marks":6339,"data":6341},"9",[6340],{"type":5869},{},{"nodeType":147,"value":6343,"marks":6344,"data":6345}," After the Japanese company’s bankruptcy, SOGO Hong Kong was sold to Lifestyle International Holdings. The Causeway Bay SOGO replaced the static billboard on its ",[],{},{"nodeType":147,"value":6031,"marks":6347,"data":6348},[],{},{"nodeType":147,"value":6350,"marks":6351,"data":6352}," with what it claims is the largest outdoor LED screen in the Asia-Pacific region, with its surface covering an area larger than five tennis courts combined.",[],{},{"nodeType":147,"value":6354,"marks":6355,"data":6357},"10",[6356],{"type":5869},{},{"nodeType":147,"value":6359,"marks":6360,"data":6361}," A week-long video ad costs HKD 145,000",[],{},{"nodeType":147,"value":6363,"marks":6364,"data":6366},"11",[6365],{"type":5869},{},{"nodeType":147,"value":6368,"marks":6369,"data":6370}," – a tidy sum to pay for human attention. A singularly glowing, irrepressively demanding physical presence seems to have enabled and concealed as much of the 'rational delirium' of both immense conflicts and euphoric frenzy gathering right below the SOGO ",[],{},{"nodeType":147,"value":6031,"marks":6372,"data":6373},[],{},{"nodeType":147,"value":6375,"marks":6376,"data":6377}," in the next two decades.",[],{},{"nodeType":147,"value":6379,"marks":6380,"data":6382},"12 ",[6381],{"type":5869},{},{"nodeType":143,"data":6384,"content":6385},{},[6386,6390,6393],{"nodeType":147,"value":6387,"marks":6388,"data":6389},"Across the harbour, a new SOGO opened in Kai Tak to premature fanfare. Within six months, low foot traffic forced the store to shorten its hours. Without an iconic ",[],{},{"nodeType":147,"value":6031,"marks":6391,"data":6392},[],{},{"nodeType":147,"value":6394,"marks":6395,"data":6396},", an accessible street entrance, or a boom-era bustle, the suburbanised distance of Kai Tak feels symbolic: a foreclosure of imagination in a city that has for so long been driven by the momentum of its capitalist modernity. If a certain nihilistic expenditure in commercial life after dark exists to counter the daytime suffering of ordinary crises, what could be possible in a city where stores close at 9pm and last orders are taken at 8:30pm? Do we simply submit to the domination of the nine-to-five without at least attempting to mount a rebuttal against capitalistic time by exhausting ourselves on anti-productive pleasures and after-hours entanglements?",[],{},{"nodeType":143,"data":6398,"content":6399},{},[6400],{"nodeType":147,"value":6401,"marks":6402,"data":6403},"One evening after work, I made my way to SOGO. Shopping there for the first time in 20 years, everything somehow seemed like a lesser version of what it could have been. Instead of beautiful women with repressed emotional lives, I was greeted by aggressively banal marketers urging me to download an app. The stalkerish sales tactic prevails, which feels even sadder when too many items appear on sale. Kitchen tools and tableware ubiquitous in Japan at lower price points appear here at an unjustifiable mark-up on the tenth floor. The department store is no longer a place to experience progress or novelty; it has become just another place to run another errand. It feels, against all odds, incredibly normal. ",[],{},{"nodeType":143,"data":6405,"content":6406},{},[6407],{"nodeType":147,"value":6408,"marks":6409,"data":6410},"I had always assumed the supremacy of the department store lay in its magnanimity towards the purpose-driven but restless: a kind of capitalist commune, eternally luminant and eternally present, where one could freely kill time and freely move on. But the dopamine hit once found in strolling through serial displays of merchandise have now migrated to the infinite scroll of shopping apps – virtual departure stores optimised for predictive habits. There are now as many storefronts as there are personalised algorithms. In turn, physical retail behaves more and more like a logistical endpoint rather than the beginning of a discovery. When leisure feels too much like work – not that we shouldn’t press our own elevator buttons – is this really the future we asked for? ",[],{},{"nodeType":143,"data":6412,"content":6413},{},[6414],{"nodeType":147,"value":6415,"marks":6416,"data":6417},"I did not find the down comforter of my dreams. I left SOGO and went down the street to IKEA. ",[],{},{"nodeType":6419,"data":6420,"content":6421},"hr",{},[],{"nodeType":6423,"data":6424,"content":6425},"heading-6",{},[6426,6430,6435],{"nodeType":147,"value":6427,"marks":6428,"data":6429},"1        Department store women always seem ",[],{},{"nodeType":147,"value":6431,"marks":6432,"data":6434},"young",[6433],{"type":808},{},{"nodeType":147,"value":6436,"marks":6437,"data":6438},", even when you are seven years old. ",[],{},{"nodeType":143,"data":6440,"content":6441},{},[6442],{"nodeType":147,"value":219,"marks":6443,"data":6444},[],{},{"nodeType":6423,"data":6446,"content":6447},{},[6448,6452,6457,6461,6468],{"nodeType":147,"value":6449,"marks":6450,"data":6451},"2        Wing-hung Lok, ",[],{},{"nodeType":147,"value":6453,"marks":6454,"data":6456},"A Study of the Adaptation of Marketing Policies of Japanese Department Stores in Hong Kong ",[6455],{"type":808},{},{"nodeType":147,"value":6458,"marks":6459,"data":6460},"(M.B.A. thesis, Chinese University of Hong Kong, 1986), ",[],{},{"nodeType":865,"data":6462,"content":6464},{"uri":6463},"https:\u002F\u002Fcore.ac.uk\u002Fdownload\u002Fpdf\u002F48543313.pdf",[6465],{"nodeType":147,"value":6463,"marks":6466,"data":6467},[],{},{"nodeType":147,"value":6213,"marks":6469,"data":6470},[],{},{"nodeType":143,"data":6472,"content":6473},{},[6474],{"nodeType":147,"value":219,"marks":6475,"data":6476},[],{},{"nodeType":6423,"data":6478,"content":6479},{},[6480],{"nodeType":147,"value":6481,"marks":6482,"data":6483},"3        The Sino-British Joint Declaration (1984) was the treaty that set the terms for Hong Kong’s return to China in 1997, promising a ‘one country, two systems’ arrangement. ",[],{},{"nodeType":143,"data":6485,"content":6486},{},[6487],{"nodeType":147,"value":219,"marks":6488,"data":6489},[],{},{"nodeType":6423,"data":6491,"content":6492},{},[6493,6497,6502],{"nodeType":147,"value":6494,"marks":6495,"data":6496},"4        Henri Lefebvre, ",[],{},{"nodeType":147,"value":6498,"marks":6499,"data":6501},"The Urban Revolution",[6500],{"type":808},{},{"nodeType":147,"value":6503,"marks":6504,"data":6505},", trans. Robert Bononno (Minneapolis: University of Minnesota Press, 2003), 39. ",[],{},{"nodeType":143,"data":6507,"content":6508},{},[6509],{"nodeType":147,"value":219,"marks":6510,"data":6511},[],{},{"nodeType":6423,"data":6513,"content":6514},{},[6515,6519,6524,6528,6535,6539,6544,6548,6555],{"nodeType":147,"value":6516,"marks":6517,"data":6518},"5        ‘Elevator Ladies’ (電梯小姐), ",[],{},{"nodeType":147,"value":6520,"marks":6521,"data":6523},"Taiwan Women’s Web ",[6522],{"type":808},{},{"nodeType":147,"value":6525,"marks":6526,"data":6527},"(臺灣女人網), National Museum of Taiwan History (國 立臺灣歷史博物館), ",[],{},{"nodeType":865,"data":6529,"content":6531},{"uri":6530},"https:\u002F\u002Fwomen.nmth.gov.tw\u002F?p=20046",[6532],{"nodeType":147,"value":6530,"marks":6533,"data":6534},[],{},{"nodeType":147,"value":6536,"marks":6537,"data":6538},". ‘Occupations That Vanished with Time: Elevator Ladies’ (隨時代消失的職業—電梯小姐), ",[],{},{"nodeType":147,"value":6540,"marks":6541,"data":6543},"HKESE \u002F Fashion Chronicle ",[6542],{"type":808},{},{"nodeType":147,"value":6545,"marks":6546,"data":6547},"(時尚紀事), April 8, 2022, ",[],{},{"nodeType":865,"data":6549,"content":6551},{"uri":6550},"https:\u002F\u002Fhkese.net\u002Farticle\u002F211462",[6552],{"nodeType":147,"value":6550,"marks":6553,"data":6554},[],{},{"nodeType":147,"value":6556,"marks":6557,"data":6558},". 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I’ll never forget Hyph11E’s trademark ferocity: a friend once explained that in a city of inert crowds, her bass pulses summoned movement, while layered, granular soundscapes kept ears alert and attuned to a young EDM city still finding its rhythm.",[],{},{"nodeType":147,"value":7524,"marks":7525,"data":7527},"1 ",[7526],{"type":5869},{},{"nodeType":5945,"data":7529,"content":7571},{"target":7530},{"metadata":7531,"sys":7534,"fields":7543},{"tags":7532,"concepts":7533},[],[],{"space":7535,"id":7537,"type":18,"createdAt":7538,"updatedAt":7538,"environment":7539,"publishedVersion":91,"revision":216,"contentType":7541,"locale":31},{"sys":7536},{"type":14,"linkType":15,"id":16},"6gFUByVftCATVOTPt37tUA","2025-12-15T22:13:20.388Z",{"sys":7540},{"id":23,"type":14,"linkType":24},{"sys":7542},{"type":14,"linkType":29,"id":5961},{"name":7544,"visibility":5987,"images":7545,"galleryFormat":5988,"gallerySize":7569,"gridColumns":5866,"gridSpacing":5990,"scrollImageSize":5989,"imageOptions":7570},"Sonic Ghosts image 3",[7546],{"metadata":7547,"sys":7550,"fields":7558},{"tags":7548,"concepts":7549},[],[],{"space":7551,"id":7553,"type":212,"createdAt":7554,"updatedAt":7555,"environment":7556,"publishedVersion":1078,"revision":91,"locale":31},{"sys":7552},{"type":14,"linkType":15,"id":16},"2l54XtgozANae1Qx0PS74y","2025-12-15T22:02:56.067Z","2025-12-19T10:22:52.739Z",{"sys":7557},{"id":23,"type":14,"linkType":24},{"title":7559,"description":7560,"file":7561},"images-172","Laurence Lek, _Sinofuturism (1839–2046 AD)_, 2016, single-channel video, 60 min. 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Many artists from the scene then left the city, effectively evacuating its pulse: Hyph11E moved to the UK, Scintii to Taipei, while Osheyack released ",[],{},{"nodeType":147,"value":7580,"marks":7581,"data":7583},"Intimate Publics ",[7582],{"type":808},{},{"nodeType":147,"value":7585,"marks":7586,"data":7587},"(2022) as a farewell, weaving personal reflection into his parting gesture.",[],{},{"nodeType":147,"value":6015,"marks":7589,"data":7591},[7590],{"type":5869},{},{"nodeType":147,"value":7593,"marks":7594,"data":7595}," Shuang Li’s audio-visual collaborations with them date back to those contemporary halcyon days of Shanghai, when DJs and visual artists were experimenting across sound, image, and performance. That wave has since slipped from the city’s orbit – much like the lovers who parted at the end of Calvino’s tale. ",[],{},{"nodeType":143,"data":7597,"content":7598},{},[7599,7603,7607,7611,7616],{"nodeType":147,"value":7600,"marks":7601,"data":7602},"With this biographical context in mind, one can sense in Li’s modulated chandeliers – shimmering like a sonic ghost – traces of Sinofuturism, a term first coined by theory-driven electronic music producer Steve Goodman (aka Kode9), and later entwined with China’s hyper-charged club culture.",[],{},{"nodeType":147,"value":6039,"marks":7604,"data":7606},[7605],{"type":5869},{},{"nodeType":147,"value":7608,"marks":7609,"data":7610}," Surfacing amid contested debates in the 2010s, Sinofuturism encapsulated a set of aesthetic and political sensibilities that accompanied China’s rise after the 2008 financial crisis, reflecting a shift toward a multipolar world order. It was never a formal movement, but rather a site of technocultural imagination – where music, visual culture, digital media, and literature converged into a constellation of speculative desires. While many local artists voiced unease with such labels – a point I return to later – Li’s VJ-like video grammar beneath the large Art Deco coloured-glass ceiling panel at Rong Zhai, along with the exhibition’s choreography of light and sound, evoked a covert club sensibility attuned to this retro-futurist mansion, as if we were in the ballroom of ",[],{},{"nodeType":147,"value":7612,"marks":7613,"data":7615},"The Shining",[7614],{"type":808},{},{"nodeType":147,"value":6556,"marks":7617,"data":7618},[],{},{"nodeType":143,"data":7620,"content":7621},{},[7622,7626,7630,7634,7639],{"nodeType":147,"value":7623,"marks":7624,"data":7625},"Seated in a small room above the mansion’s reception – and perhaps serving as a lowkey opener – ",[],{},{"nodeType":147,"value":7456,"marks":7627,"data":7629},[7628],{"type":808},{},{"nodeType":147,"value":7631,"marks":7632,"data":7633},"voices a sonic essay written by the artist in android-toned utterances, gradually dissolving into dreamlike, 60s-futurist soundscapes before settling into a KTV-tinged finale. ",[],{},{"nodeType":147,"value":7635,"marks":7636,"data":7638},"Demolition Lovers",[7637],{"type":808},{},{"nodeType":147,"value":7640,"marks":7641,"data":7642},", another audio-visual installation, presents a pair of inverted chandeliers suspended from the ceiling of a cavernous garret. Their sound and light interact like two DJs back-to-back in a gig, drifting through a shifting ambient hush, with the BPM nudging upward only briefly, high enough to summon the memory of dancing, but never the dance itself. ",[],{},{"nodeType":143,"data":7644,"content":7645},{},[7646,7650,7655,7659],{"nodeType":147,"value":7647,"marks":7648,"data":7649},"While an accompanying note succinctly explains that these audio pieces stem from pandemic-era text messages between Li and her mother, the experience of the two abstract soundscapes felt curiously detached from the theme of nostalgia and longing for home. In ",[],{},{"nodeType":147,"value":7651,"marks":7652,"data":7654},"With a Trunk of Ammunition",[7653],{"type":808},{},{"nodeType":147,"value":7656,"marks":7657,"data":7658},", most utterances are spliced and remixed – familial messages absorbed into the pulse of club ambience. Although the exhibition never actually mentioned the club, I was struck all the more by its ghostly presence – each sound and element feeling entirely embodied. Amid the music, one longed for the nightlife of the 2010s and its fleeting ‘moment of global contemporaneity’. Sinofuturism surfaced only in the form of its absence, refracted through distance and loss.",[],{},{"nodeType":147,"value":7660,"marks":7661,"data":7663},"4 ",[7662],{"type":5869},{},{"nodeType":5945,"data":7665,"content":7706},{"target":7666},{"metadata":7667,"sys":7670,"fields":7679},{"tags":7668,"concepts":7669},[],[],{"space":7671,"id":7673,"type":18,"createdAt":7674,"updatedAt":7674,"environment":7675,"publishedVersion":26,"revision":216,"contentType":7677,"locale":31},{"sys":7672},{"type":14,"linkType":15,"id":16},"5kKiJQq054AsKQ0UVthRkv","2025-12-15T22:11:46.381Z",{"sys":7676},{"id":23,"type":14,"linkType":24},{"sys":7678},{"type":14,"linkType":29,"id":5961},{"name":7680,"visibility":5987,"images":7681,"galleryFormat":5988,"gallerySize":7569,"gridColumns":5866,"gridSpacing":5990,"scrollImageSize":5989,"imageOptions":7705},"Sonic Ghost EN",[7682],{"metadata":7683,"sys":7686,"fields":7694},{"tags":7684,"concepts":7685},[],[],{"space":7687,"id":7689,"type":212,"createdAt":7690,"updatedAt":7691,"environment":7692,"publishedVersion":51,"revision":1123,"locale":31},{"sys":7688},{"type":14,"linkType":15,"id":16},"tFRV0akbuaEE1tTB68nVR","2025-12-15T22:02:56.079Z","2025-12-15T22:11:41.113Z",{"sys":7693},{"id":23,"type":14,"linkType":24},{"title":7695,"description":7696,"file":7697},"images-173","Osheyack at The Shelter, 2015 (photography: Liu Shuwei)",{"url":7698,"details":7699,"fileName":7704,"contentType":228},"\u002F\u002Fimages.ctfassets.net\u002F2urh0izv0sep\u002FtFRV0akbuaEE1tTB68nVR\u002F15dba0ad06201fc6e14d0e6c02cd90d5\u002Fimages-173.png",{"size":7700,"image":7701},1593562,{"width":7702,"height":7703},1420,950,"images-173.png",[4640],[],{"nodeType":143,"data":7708,"content":7709},{},[7710,7714,7719],{"nodeType":147,"value":7711,"marks":7712,"data":7713},"For those still based in Shanghai, ",[],{},{"nodeType":147,"value":7715,"marks":7716,"data":7718},"Distance of the Moon ",[7717],{"type":808},{},{"nodeType":147,"value":7720,"marks":7721,"data":7722},"was less a homecoming than a humming echo of days gone. Much has been written about the rise of Sinofuturism, yet little has been said about what happens when a city’s imagination of the future runs into deficit – when the very brand of Sinofuturism slips into obsolescence. In tracing the social life of such conceptual vocabulary, I offer here a glimpse of Sinofuturism as it once existed on the dance floor. This productive intersection – across the intellectual history of a sonic culture, from its emergence in the UK to its eventual entanglement with the 2010s Chinese scene – reveals a temporal economy that ensnares us: a cybernetic feedback loop masquerading as end sentence on progress. In both Sinofuturism and Mark Fisher’s hauntology, a shared urge toward a transcendental singularity – an accelerated future in which systems overturn and transform – ultimately reveals the limits they share, despite their seemingly divergent temporal orientations. ",[],{},{"nodeType":7417,"data":7724,"content":7725},{},[7726],{"nodeType":147,"value":7727,"marks":7728,"data":7729},"SINOFUTURISM IN CONCEPT ",[],{},{"nodeType":143,"data":7731,"content":7732},{},[7733,7737,7741,7745,7749,7753,7757],{"nodeType":147,"value":7734,"marks":7735,"data":7736},"Carmen Herold, co-founder of Beijing’s Zhao Dai Club, offers a historiography of Sinofuturism in her 2020 essay ‘China’s Sonic Fictions: Music, Technology, and the Phantasm of a Sinicized Future’. Although Sinofuturism has often been compared to Afrofuturism since its prevalence, few writers have, as Herold has, situated it within the lineage of Kodwo Eshun, the Black music critic and theorist who understood that Afrofuturism’s power lies in its capacity to reroute the present as the future, channeling Black diasporic time through sonic and speculative invention.",[],{},{"nodeType":147,"value":6208,"marks":7738,"data":7740},[7739],{"type":5869},{},{"nodeType":147,"value":7742,"marks":7743,"data":7744}," She anchors this genealogy in Eshun’s evocative 1996 Virtual Futures lectures. It was soon embraced by members of the Virtual Futures organising collective – the Cybernetic Unit (CCRU): a short-lived short-lived fringe philosophy group at the University of Warwick whose philosophical impact endures, despite one of its founders, Nick Land, later becoming embroiled in controversies over alt-right associations.",[],{},{"nodeType":147,"value":6240,"marks":7746,"data":7748},[7747],{"type":5869},{},{"nodeType":147,"value":7750,"marks":7751,"data":7752}," While CCRU is often cited for its rereading of technical singularity through a Deleuzian framework (and their popularisation of hyperstition and theory fiction), the key point here is to highlight the centrality of rave music in driving the collective’s conceptual mutation, with Eshun as a pivotal figure in conceptualising techno music. This served as a catalyst for Kode9’s 1998 speculative manifesto, ‘Fei Ch’ien Rinse Out: Sino-Futurist Under-Currency’. The text likens the Triads – an organised crime syndicate – to a Deleuzian war machine;",[],{},{"nodeType":147,"value":6306,"marks":7754,"data":7756},[7755],{"type":5869},{},{"nodeType":147,"value":7758,"marks":7759,"data":7760}," stages a dialogue between the I Ching and Leibniz’s binary; and reframes Fei Ch’ien, a historical Chinese informal value transfer system, as a precursor to decentralised crypto networks, thereby mapping East– West techno-cultural narratives as nonlinear constellations rather than hierarchical structures. ",[],{},{"nodeType":5945,"data":7762,"content":7802},{"target":7763},{"metadata":7764,"sys":7767,"fields":7776},{"tags":7765,"concepts":7766},[],[],{"space":7768,"id":7770,"type":18,"createdAt":7771,"updatedAt":7771,"environment":7772,"publishedVersion":51,"revision":216,"contentType":7774,"locale":31},{"sys":7769},{"type":14,"linkType":15,"id":16},"2fVtKAgL4aMsJ4tlz8KXrM","2025-12-15T22:13:04.382Z",{"sys":7773},{"id":23,"type":14,"linkType":24},{"sys":7775},{"type":14,"linkType":29,"id":5961},{"name":7777,"visibility":5987,"images":7778,"galleryFormat":5988,"gallerySize":7569,"gridColumns":5866,"gridSpacing":5990,"scrollImageSize":5989,"imageOptions":7801},"Sonic Ghosts image 4",[7779],{"metadata":7780,"sys":7783,"fields":7791},{"tags":7781,"concepts":7782},[],[],{"space":7784,"id":7786,"type":212,"createdAt":7787,"updatedAt":7788,"environment":7789,"publishedVersion":679,"revision":51,"locale":31},{"sys":7785},{"type":14,"linkType":15,"id":16},"4HYrfpnl1BcM00CuGsPHhg","2025-12-15T22:02:56.088Z","2025-12-19T10:21:58.951Z",{"sys":7790},{"id":23,"type":14,"linkType":24},{"title":7792,"description":7560,"file":7793},"images-174",{"url":7794,"details":7795,"fileName":7800,"contentType":228},"\u002F\u002Fimages.ctfassets.net\u002F2urh0izv0sep\u002F4HYrfpnl1BcM00CuGsPHhg\u002F08679bd91dc56c493876e01f4aa42247\u002Fimages-174.png",{"size":7796,"image":7797},2501342,{"width":7798,"height":7799},1828,1240,"images-174.png",[4640],[],{"nodeType":143,"data":7804,"content":7805},{},[7806],{"nodeType":147,"value":219,"marks":7807,"data":7808},[],{},{"nodeType":143,"data":7810,"content":7811},{},[7812,7816,7821,7825,7830,7834,7839,7843,7848,7852,7857,7861,7865,7869],{"nodeType":147,"value":7813,"marks":7814,"data":7815},"Herold rightly critiqued Fei Ch’ien for its ‘supratemporal fixation on China’, warning that such Orientalist framing risked theoretical reduction – a tendency she sees persisting in Kode9’s 2005 compilation ",[],{},{"nodeType":147,"value":7817,"marks":7818,"data":7820},"SinoGrime",[7819],{"type":808},{},{"nodeType":147,"value":7822,"marks":7823,"data":7824},", which fused London’s underground electronic sounds with vintage Chinese melodies. Yet if we consider that Kode9’s Oriental aesthetic actually derives from the work of Black British musicians, such as Jammer’s ",[],{},{"nodeType":147,"value":7826,"marks":7827,"data":7829},"Chinaman ",[7828],{"type":808},{},{"nodeType":147,"value":7831,"marks":7832,"data":7833},"and Wiley’s ",[],{},{"nodeType":147,"value":7835,"marks":7836,"data":7838},"Shanghai ",[7837],{"type":808},{},{"nodeType":147,"value":7840,"marks":7841,"data":7842},"(both 2003), we can push the analysis further: ",[],{},{"nodeType":147,"value":7844,"marks":7845,"data":7847},"Chinaman",[7846],{"type":808},{},{"nodeType":147,"value":7849,"marks":7850,"data":7851},", for instance, samples the erhu melodies from Jet Li’s film ",[],{},{"nodeType":147,"value":7853,"marks":7854,"data":7856},"Tai Chi Master ",[7855],{"type":808},{},{"nodeType":147,"value":7858,"marks":7859,"data":7860},"(1993), emphasising the instrument’s nasal tones and slides, thereby embedding a historical Afro-Asian affect that connects Black audiences with Asian martial arts. When Kode9 subsequently codified this Afro-Asian cultural vocabulary in ",[],{},{"nodeType":147,"value":7817,"marks":7862,"data":7864},[7863],{"type":808},{},{"nodeType":147,"value":7866,"marks":7867,"data":7868},", and importantly, continued collaborating with Chinese producers like Hyph11E and ChaCha – a point Herold affirms – I would argue these events should be seen as part of a continuous transcultural kinesthetic loop linking the UK’s Afro-diasporic future to Chinese futurity. In short, what might initially appear as exotic appropriation in a single work should be complicated into what Zachary F. Price describes as ‘sonic kinesthesia’ between Africa and Asia – a production of shared feeling across cultures through movement and sound.",[],{},{"nodeType":147,"value":7870,"marks":7871,"data":7873},"8 ",[7872],{"type":5869},{},{"nodeType":143,"data":7875,"content":7876},{},[7877,7881,7886,7890,7894,7898,7903,7907,7912],{"nodeType":147,"value":7878,"marks":7879,"data":7880},"That said, what unfolded in 2010s China had little to do with these Afro-Asian alternative futures. The promise of a transcultural kinesthesia never truly materialised as a form of cultural reclamation or political resistance. A clearer lens on this nouveau future lies in its emergence through pop culture. ",[],{},{"nodeType":147,"value":7882,"marks":7883,"data":7885},"Looper ",[7884],{"type":808},{},{"nodeType":147,"value":7887,"marks":7888,"data":7889},"(2012), the first Hollywood sci-fi to cast Shanghai as a city of tomorrow, was originally set in Paris. Midway through production, Shanghai took over. Traces of the old plan remain – a character still studies French for his imagined retirement in France. Yet amid his fugitive flight, we catch glimpses of cargo ships drifting along the Huangpu River, jump-cut against the skyline of Lujiazui – the first Hollywood imprint of Shanghai as a figurative site of Sinofuturism.",[],{},{"nodeType":147,"value":6338,"marks":7891,"data":7893},[7892],{"type":5869},{},{"nodeType":147,"value":7895,"marks":7896,"data":7897}," Soon after, ",[],{},{"nodeType":147,"value":7899,"marks":7900,"data":7902},"Skyfall ",[7901],{"type":808},{},{"nodeType":147,"value":7904,"marks":7905,"data":7906},"(2012) staged a rooftop fight against a post-produced dreamscape of the Oriental Pearl Tower, bathed in the glow of Chinese-language ads for telecoms and fiber optics. By 2013, ",[],{},{"nodeType":147,"value":7908,"marks":7909,"data":7911},"Her ",[7910],{"type":808},{},{"nodeType":147,"value":7913,"marks":7914,"data":7915},"extended the fantasy further – shot extensively in Shanghai as a stand-in for Los Angeles, its skyline reimagined as the lonely architecture of love between human and machine. ",[],{},{"nodeType":5945,"data":7917,"content":7959},{"target":7918},{"metadata":7919,"sys":7922,"fields":7932},{"tags":7920,"concepts":7921},[],[],{"space":7923,"id":7925,"type":18,"createdAt":7926,"updatedAt":7927,"environment":7928,"publishedVersion":71,"revision":1123,"contentType":7930,"locale":31},{"sys":7924},{"type":14,"linkType":15,"id":16},"4TLGs1EM3PNrK0Zj4MiZKB","2025-12-15T22:16:42.196Z","2025-12-15T22:28:26.894Z",{"sys":7929},{"id":23,"type":14,"linkType":24},{"sys":7931},{"type":14,"linkType":29,"id":5961},{"name":7933,"images":7934,"visibility":5987,"galleryFormat":5988,"gallerySize":5989,"gridColumns":5866,"gridSpacing":5990,"scrollImageSize":5989,"imageOptions":7958},"Sonic Ghosts image 5",[7935],{"metadata":7936,"sys":7939,"fields":7947},{"tags":7937,"concepts":7938},[],[],{"space":7940,"id":7942,"type":212,"createdAt":7943,"updatedAt":7944,"environment":7945,"publishedVersion":1078,"revision":91,"locale":31},{"sys":7941},{"type":14,"linkType":15,"id":16},"d8A95EFJ1Br0ayhNmzP1V","2025-12-15T22:02:56.082Z","2025-12-19T10:22:17.685Z",{"sys":7946},{"id":23,"type":14,"linkType":24},{"title":7948,"description":7949,"file":7950},"images-175","Tianzhuo Chen, _Trance_, 2019, performance view, M Woods, Beijing, 31 October 2019 (photography: Peiyu Shen)",{"url":7951,"details":7952,"fileName":7957,"contentType":228},"\u002F\u002Fimages.ctfassets.net\u002F2urh0izv0sep\u002Fd8A95EFJ1Br0ayhNmzP1V\u002Fdff446829cdaac8d8983b2a68f8fc924\u002Fimages-175.png",{"size":7953,"image":7954},1393360,{"width":7955,"height":7956},1650,1001,"images-175.png",[4640],[],{"nodeType":143,"data":7961,"content":7962},{},[7963,7967,7971],{"nodeType":147,"value":7964,"marks":7965,"data":7966},"It’s also around this time that Kode9, after releasing ",[],{},{"nodeType":147,"value":7817,"marks":7968,"data":7970},[7969],{"type":808},{},{"nodeType":147,"value":7972,"marks":7973,"data":7974},", began traveling frequently to Shanghai, performing in particular at the Shelter (2007–2016), housed in a real Mao-era military bunker. The club became a trailblazer, introducing emerging genres of grime – raw, rapid-fire UK electronic rap; footwork – fast, twisting beats from Chicago dance battles; and dubstep – wobbly bass and sparse, syncopated rhythms from the UK. By cultivating an open and The Shelter attracted international stars like Kode9 and Shackleton, while also nurturing local voices – Tzusing, Swimful, Hyph11E, Osheyack – who would later bring Shanghai’s producers to global attention, a momentum continued by The Shelter’s successor, Club All. ",[],{},{"nodeType":143,"data":7976,"content":7977},{},[7978,7982,7987,7991,7996,8000,8004,8008,8013,8017],{"nodeType":147,"value":7979,"marks":7980,"data":7981},"By 2016, as China launched the manufacturing upgrade plan ‘Made in China 2025’ and advanced the trans-Eurasian infrastructure strategy ‘Belt and Road Initiative’, Sinofuturism began gaining significant traction through Lawrence Lek’s video essay ",[],{},{"nodeType":147,"value":7983,"marks":7984,"data":7986},"Sinofuturism (1839–2046 AD)",[7985],{"type":808},{},{"nodeType":147,"value":7988,"marks":7989,"data":7990}," (2016). Narrated in a robotic cadence, the work extends from ",[],{},{"nodeType":147,"value":7992,"marks":7993,"data":7995},"Fei Ch’ien ",[7994],{"type":808},{},{"nodeType":147,"value":7997,"marks":7998,"data":7999},"and maps conspiracy theories about China’s technological ascent. While some artists have positively cited the framework as opening a new horizon for speculation, many China-based producers and contemporary artists felt misrepresented, pointing to its diasporic perspective.",[],{},{"nodeType":147,"value":6354,"marks":8001,"data":8003},[8002],{"type":5869},{},{"nodeType":147,"value":8005,"marks":8006,"data":8007}," As Herold observes, these local producers often turn the focus to lived realities: Osheyack’s ",[],{},{"nodeType":147,"value":8009,"marks":8010,"data":8012},"Memory Hierarchy ",[8011],{"type":808},{},{"nodeType":147,"value":8014,"marks":8015,"data":8016},"(2020) interrogates a landscape saturated with surveillance, while Warmchainss, resident DJ at Shenzhen’s club Oil, treats her sets as speculative echoes of life under global capitalism and techno-autocracy.",[],{},{"nodeType":147,"value":8018,"marks":8019,"data":8021},"11 ",[8020],{"type":5869},{},{"nodeType":7417,"data":8023,"content":8024},{},[8025],{"nodeType":147,"value":8026,"marks":8027,"data":8028},"SINOFUTURISM ON THE DANCE FLOOR ",[],{},{"nodeType":143,"data":8030,"content":8031},{},[8032,8036,8041],{"nodeType":147,"value":8033,"marks":8034,"data":8035},"Despite Herold’s pointed critique through the lens of identity politics, if Sinofuturism is seen as an onto-cultural yearning for technological singularity, its rhythm was perhaps clearest on China’s rapidly proliferating dancefloors of the buoyant 2010s. Music producer Tom Mouna, who was based in Beijing from 2015 to 2020, describes this scene as diverging sharply from typical club norms, dubbing it the ‘Chinese club-museum ecosystem’.",[],{},{"nodeType":147,"value":8037,"marks":8038,"data":8040},"12",[8039],{"type":5869},{},{"nodeType":147,"value":8042,"marks":8043,"data":8044}," For Mouna, who also held a day job at a Beijing institution at the time, the scene’s distinction lay in its rapid transformation, enabled by club hardware upgrades. He traces the story back to 2016, when Shanghai emerged on the global club map and local labels flourished, cultivating an eclectic sonic palette with homegrown producers becoming key players in a global network. ",[],{},{"nodeType":143,"data":8046,"content":8047},{},[8048,8052,8057],{"nodeType":147,"value":8049,"marks":8050,"data":8051},"By 2017, the launch of Club All, designed by visual artist Kim Laughton, ushered in a new era for Shanghai nightlife, placing the audio-visual experience at the forefront through upgraded technology. Towering LED screens on the main stage allowed musicians and visual artists to collaborate, often projecting immersive game-engine simulations, while LED panels at the entrances promoted upcoming events – one urging patrons to ‘prioritise your eyes as much as your ears’.",[],{},{"nodeType":147,"value":8053,"marks":8054,"data":8056},"13",[8055],{"type":5869},{},{"nodeType":147,"value":8058,"marks":8059,"data":8060}," The club’s sleek metallic surfaces, mirrored walls, and minimal furnishings presented a sharp contrast to its predecessor, The Shelter, whose raw, claustrophobic, yet intoxicating underground vibe stood as a relic of a bygone era. In line with the broader generation of clubs emerging across China at the time, which increasingly emphasised upgraded interiors and high-tech dancefloor amenities, Club All exemplified the shift toward polished, multimedia-driven nightlife. ",[],{},{"nodeType":143,"data":8062,"content":8063},{},[8064,8068,8073,8077,8081,8085,8090],{"nodeType":147,"value":8065,"marks":8066,"data":8067},"While Shanghai’s club culture evoked the hardware glint and spectacle reminiscent of China’s 2010s ‘museum fever’, art spaces in Beijing soon sensed the potential of a new cross-current between sound and vision. In 2017, several organisations joined forces to launch the ",[],{},{"nodeType":147,"value":8069,"marks":8070,"data":8072},"Nightlife Residency",[8071],{"type":808},{},{"nodeType":147,"value":8074,"marks":8075,"data":8076},", inviting musicians and visual artists to Beijing to probe the thresholds between the dance floor and the exhibition space. By 2018, Beijing’s M Woods Museum opened guī, a multidisciplinary venue where visual and sonic innovations could flourish. ",[],{},{"nodeType":147,"value":8078,"marks":8079,"data":8080},"Tianzhuo Chen’s",[],{},{"nodeType":147,"value":8082,"marks":8083,"data":8084}," 2019 museum solo, ",[],{},{"nodeType":147,"value":8086,"marks":8087,"data":8089},"Trance",[8088],{"type":808},{},{"nodeType":147,"value":8091,"marks":8092,"data":8093},", exemplified this convergence, transforming M Woods into a two-day marathon of immersive, high-intensity performances that blurred the lines between club culture and contemporary art. ",[],{},{"nodeType":143,"data":8095,"content":8096},{},[8097,8101,8106,8110,8115,8119,8124],{"nodeType":147,"value":8098,"marks":8099,"data":8100},"Yet what truly aligns with the optimism at the heart of Sinofuturism is the narrative shift underpinning this mutation, which renders China especially enticing as a space of possibility. Mouna notes, unlike European and American clubs with their city-specific genres, Chinese dancefloors embrace a global mélange of sounds, offering musicians a fertile space to resist and redefine the audiovisual status quo – until the pandemic brought it to a halt.",[],{},{"nodeType":147,"value":8102,"marks":8103,"data":8105},"14",[8104],{"type":5869},{},{"nodeType":147,"value":8107,"marks":8108,"data":8109}," In May 2020, Alvin Li organised ",[],{},{"nodeType":147,"value":8111,"marks":8112,"data":8114},"We Came to Linger",[8113],{"type":808},{},{"nodeType":147,"value":8116,"marks":8117,"data":8118},", a two-night presentation that brought together his local dance-floor peers – Shuang Li and Liu Shuwei – with artists from elsewhere, at Club All, just after it emerged from the initial closure of the first wave of COVID-19. In the press release, he invoked ",[],{},{"nodeType":147,"value":8120,"marks":8121,"data":8123},"Clubsterben ",[8122],{"type":808},{},{"nodeType":147,"value":8125,"marks":8126,"data":8127},"– the German term for ‘club death’ – to describe the emergency imposed by the pandemic. The exhibition aimed to help the club navigate its crisis, facing imminent closure, and to reflect on the ontology, communal life, and transnational solidarities of club culture. ",[],{},{"nodeType":143,"data":8129,"content":8130},{},[8131,8136,8140,8145,8149,8154],{"nodeType":147,"value":8132,"marks":8133,"data":8135},"We Came to Linger ",[8134],{"type":808},{},{"nodeType":147,"value":8137,"marks":8138,"data":8139},"transformed what might have been mere attendance at a club into active participation in a collective endeavour. Artists contributed video works with generosity, and visiting the exhibition became an act of solidarity. While the show invoked the potential death of a club as an imminent future, it also seized this moment as a rare opportunity: the floor of movement became a space for reflection on the communal body. Kenneth Tan’s ",[],{},{"nodeType":147,"value":8141,"marks":8142,"data":8144},"All of M ",[8143],{"type":808},{},{"nodeType":147,"value":8146,"marks":8147,"data":8148},"(2019) examined how dance culture shapes gender identity. Shuang Li’s ",[],{},{"nodeType":147,"value":8150,"marks":8151,"data":8153},"T ",[8152],{"type":808},{},{"nodeType":147,"value":8155,"marks":8156,"data":8157},"(2017–18), with a sonic contribution from Osheyack, traced the history of Chinese women’s feet as objects of desire – from Taobao customer-service displays of socks to the bloodstained history of foot binding. Meanwhile, Liu Shuwei presented a series of hallucinatory portraits set in The Shelter’s heyday, turning commemoration of the vanished into a meditation on active disappearanace. In an essay accompanying this photographic remembrance, Liu conjures a multispecies, multisensory speculation that rises above the weight of the pandemic. The Shelter is felt once more here – its subterranean passages and damp, mosaic-tiled interiors lingering in the city’s moist, enveloping air: ",[],{},{"nodeType":8159,"data":8160,"content":8161},"blockquote",{},[8162],{"nodeType":143,"data":8163,"content":8164},{},[8165,8169,8174],{"nodeType":147,"value":8166,"marks":8167,"data":8168},"Perhaps The Shelter now lets rain seep in, and fungi have sprouted in the gaps of its tiles – creatures attuned to music in ways humans scarcely can imagine. Some of that sound has been inscribed in matter itself, echoing in vibrations beyond our perception. The fungi, surely, apprehend these resonances more profoundly than we do: look at their bodies, and then look at our own.",[],{},{"nodeType":147,"value":8170,"marks":8171,"data":8173},"15",[8172],{"type":5869},{},{"nodeType":147,"value":6213,"marks":8175,"data":8176},[],{},{"nodeType":143,"data":8178,"content":8179},{},[8180],{"nodeType":147,"value":8181,"marks":8182,"data":8183},"Through this vision, Liu Shuwei imagines forms of sonic ghosts, treating the fungi as material traces of the club’s sound and as extensions of human memory. The visitors – once dancers, now reflected in these organisms – become conduits for a radicalisation of perception, offering a fuller, holistic apprehension of the space, its vanished rhythms, and its spectral echoes. ",[],{},{"nodeType":7417,"data":8185,"content":8186},{},[8187],{"nodeType":147,"value":8188,"marks":8189,"data":8190},"SONIC GHOSTS OF SINOFUTURISM (ECHOED)",[],{},{"nodeType":5945,"data":8192,"content":8232},{"target":8193},{"metadata":8194,"sys":8197,"fields":8206},{"tags":8195,"concepts":8196},[],[],{"space":8198,"id":8200,"type":18,"createdAt":8201,"updatedAt":8201,"environment":8202,"publishedVersion":91,"revision":216,"contentType":8204,"locale":31},{"sys":8199},{"type":14,"linkType":15,"id":16},"6QVFhp9ccay9Gyunj5Fyov","2025-12-15T22:22:49.042Z",{"sys":8203},{"id":23,"type":14,"linkType":24},{"sys":8205},{"type":14,"linkType":29,"id":5961},{"name":8207,"visibility":5987,"images":8208,"galleryFormat":5988,"gallerySize":5989,"gridColumns":5866,"gridSpacing":5990,"scrollImageSize":5989,"imageOptions":8231},"Sonice Ghost image 6",[8209],{"metadata":8210,"sys":8213,"fields":8221},{"tags":8211,"concepts":8212},[],[],{"space":8214,"id":8216,"type":212,"createdAt":8217,"updatedAt":8218,"environment":8219,"publishedVersion":1078,"revision":91,"locale":31},{"sys":8215},{"type":14,"linkType":15,"id":16},"3hZM63AH7LURuNpXA0pUwh","2025-12-15T22:02:56.074Z","2025-12-19T10:23:13.993Z",{"sys":8220},{"id":23,"type":14,"linkType":24},{"title":8222,"description":7283,"file":8223},"images-178",{"url":8224,"details":8225,"fileName":8230,"contentType":228},"\u002F\u002Fimages.ctfassets.net\u002F2urh0izv0sep\u002F3hZM63AH7LURuNpXA0pUwh\u002F335eef78710dd1c474f2ca5675054032\u002Fimages-178.png",{"size":8226,"image":8227},8110984,{"width":8228,"height":8229},3307,2127,"images-178.png",[4640],[],{"nodeType":143,"data":8234,"content":8235},{},[8236,8240,8245],{"nodeType":147,"value":8237,"marks":8238,"data":8239},"By 2022, opposition to the prolonged zero-COVID policy had triggered a mass exodus of those labelled – or mislabelled – as Sinofuturism, including much of the SVBKVLT community and the artists Herold had interviewed in 2020. Many local producers – some of whom had once critiqued Sinofuturism as a Techno-Orientalist idea – now came to occupy a diasporic stance through which ‘China’ circulated as a signifier rather than as grounded experience. Yet paradoxically, as many departed China, the term’s circulation was simultaneously halted. In the wake of club closures in Shanghai and Beijing due to declining ticket sales, nightlife practices have since shifted toward underground spaces or ad hoc destination parties",[],{},{"nodeType":147,"value":8241,"marks":8242,"data":8244},"16",[8243],{"type":5869},{},{"nodeType":147,"value":8246,"marks":8247,"data":8248}," – a movement paralleling a national downturn in museum attendance and the migration of contemporary artists from urban centers to provincial locales. The once-vaunted club-museum ecosystem, it seems, has long since disappeared. ",[],{},{"nodeType":143,"data":8250,"content":8251},{},[8252,8256,8261],{"nodeType":147,"value":8253,"marks":8254,"data":8255},"Take, for instance, Sinofuturism’s afterlife: an Osheyack track, paired with doomsday-tinged offshore wind-farm visuals possibly evoking the Yangtze estuary, ticks every futurist box – but the label of Sinofuturism no longer applies. Such was Shuang Li’s 2022 commission for Miu Miu’s Spring\u002FSummer 2023 collection in Paris, made in collaboration with AMO. Audiovisuals unfolded amid crouching underwater cables shaped into a continuous tubular bench with fluorescent green rings – a Gesamtkunstwerk of an underwater runway, its immersive environment ‘upholding the idea of past and present’, and transporting any Shanghai club kid back to the very scene Tom Mouna once chronicled. Yet coverage framed it simply as ‘retro-futuristic’, aligning with the fashion designs that evoke early-2000s school uniforms.",[],{},{"nodeType":147,"value":8257,"marks":8258,"data":8260},"17",[8259],{"type":5869},{},{"nodeType":147,"value":8262,"marks":8263,"data":8264}," The Sinofuturist trope may persist, but the label itself has died. ",[],{},{"nodeType":143,"data":8266,"content":8267},{},[8268,8272,8277],{"nodeType":147,"value":8269,"marks":8270,"data":8271},"A recent article by art critic Lai Fei highlights the collapse of the Chinese museum boom, where countless institutions quietly ceased operations without formally announcing closures.",[],{},{"nodeType":147,"value":8273,"marks":8274,"data":8276},"18",[8275],{"type":5869},{},{"nodeType":147,"value":8278,"marks":8279,"data":8280}," Tellingly, this ‘Museumssterben’ mirrors the subtle evaporation of Sinofuturism, whose disappearance is more difficult to reckon with than if it had never existed at all. Curiously, in the post-pandemic era, Western sci-fi has since avoided imagining Chinese cities as futuristic, and no single essay definitively marks its end, apart from a 2023 talk at Art Basel Hong Kong titled ‘What Comes After Sinofuturism’. Yet even the very question it poses – to look into what comes after – seems to skip its autopsy, as if the next iteration were inevitable. In this sense, Sinofuturism’s disappearance resists full comprehension. One might ask whether the reluctance to engage with Sinofuturism’s hauntological dimension stems from an inherent oxymoron in its temporal logic: hauntology lingers in the persistence of the past within the present, whereas Sinofuturism appears to reshape the past in order to project a future. ",[],{},{"nodeType":143,"data":8282,"content":8283},{},[8284,8288,8293,8297,8302,8306,8311,8315,8320,8323,8328,8332,8337,8341,8346,8350,8354],{"nodeType":147,"value":8285,"marks":8286,"data":8287},"Mark Fisher’s concept of hauntology is perhaps best grasped through his favorite analogy: Kraftwerk. They ‘used technology to allow new forms to emerge, the nostalgia mode subordinated technology to the task of refurbishing the old. The effect was to disguise the disappearance of the future as its opposite.’",[],{},{"nodeType":147,"value":8289,"marks":8290,"data":8292},"19",[8291],{"type":5869},{},{"nodeType":147,"value":8294,"marks":8295,"data":8296}," At first glance, hauntology – with its critique of the ‘disappearance of the future’ may seem at odds with Sinofuturism. Yet upon closer inspection, both converge in their temporal logic, each orbiting a pursuit of singularity – a radical break from the stagnation of the present, driven by the desire for a transformative moment where systems and time converge into a singular point of accelerated change. In Fisher’s hauntology, with its yearning for genuine aesthetic invention, this manifests as a desire to reclaim futures that will never arrive within our present social formation, constrained by the logic of late capitalism. In Sinofuturism, singularity emerges through geographic displacements – by looking east – much like what Tom Mouna calls global DJs’ fascination with China’s transformative club ecosystem. If you trace Fisher’s early exchanges with Kode9 back to the days of CCRU, you can see where hauntology and Sinofuturism share a common spark: a belief in radical transcendence, powered by the use of neologism as a tool of theoretical engineering.",[],{},{"nodeType":147,"value":8298,"marks":8299,"data":8301},"20",[8300],{"type":5869},{},{"nodeType":147,"value":8303,"marks":8304,"data":8305}," CCRU used to call it ",[],{},{"nodeType":147,"value":8307,"marks":8308,"data":8310},"hyperstition ",[8309],{"type":808},{},{"nodeType":147,"value":8312,"marks":8313,"data":8314},"– a portmanteau of ",[],{},{"nodeType":147,"value":8316,"marks":8317,"data":8319},"hyper ",[8318],{"type":808},{},{"nodeType":147,"value":7461,"marks":8321,"data":8322},[],{},{"nodeType":147,"value":8324,"marks":8325,"data":8327},"superstition ",[8326],{"type":808},{},{"nodeType":147,"value":8329,"marks":8330,"data":8331},"– a mode of speculative invention in which ideas, circulated through continuous narration and belief, shape cultural outcomes – and reality itself. In other words, thought becomes real through the transmission of faith into theory. At the time, there was a deliberate intent to let hyperstitions like hauntology and Sinofuturism circulate between club world and art world, allowing theoretical terms to conjure itself to life and generate tangible impact across the wider cultural sphere.",[],{},{"nodeType":147,"value":8333,"marks":8334,"data":8336},"21",[8335],{"type":5869},{},{"nodeType":147,"value":8338,"marks":8339,"data":8340}," Yet this very mechanism remains open to failure. As Herold recounts, Warmchainss – a producer from Shenzhen – reflects on her home city: ‘Ever since Shenzhen had the identity of a high-tech city imposed upon it, she has fully discarded any conceptualisation of a futurism.’",[],{},{"nodeType":147,"value":8342,"marks":8343,"data":8345},"22",[8344],{"type":5869},{},{"nodeType":147,"value":8347,"marks":8348,"data":8349}," Here too, the ",[],{},{"nodeType":147,"value":8307,"marks":8351,"data":8353},[8352],{"type":808},{},{"nodeType":147,"value":8355,"marks":8356,"data":8357},"of Sinofuturism is at work – only in this case re-routed into bureaucratic circuitry of control rather than CCRU’s original creative delirium. ",[],{},{"nodeType":143,"data":8359,"content":8360},{},[8361],{"nodeType":147,"value":8362,"marks":8363,"data":8364},"With no one left to circulate the term Sinofuturism – and no more science-fiction blockbusters imagining China as a destination of the future – I feel, as someone living in that once-projected future city of Shanghai, a certain relief. A part of me seems released from the time loop, as I step outside the mode of theory-fiction built upon singularity and a yearning for radical breakthrough that so easily ensnares desire. I have found myself beginning to question that impulsive craving for ontological rupture – whether cloaked as hauntology or futurism – which produces little more than unanchored aspiration and obscures other temporalities that might offer alternative answers. Indeed, only by breaking free from the positive feedback loops that masquerade as solutions to our present temporal impasse can we glimpse the real interregnum: a space where the old is dying and the new has yet to be born, offering neither the consolation of easy escape nor the authority of an all-encompassing theory. Should a new strain of Chinese optimism one day reassemble itself in another form, this ending will at least have taught us that past cultural experiences offer no ready answers – and that prophecies do not rise from what has been. ",[],{},{"nodeType":5945,"data":8366,"content":8407},{"target":8367},{"metadata":8368,"sys":8371,"fields":8380},{"tags":8369,"concepts":8370},[],[],{"space":8372,"id":8374,"type":18,"createdAt":8375,"updatedAt":8375,"environment":8376,"publishedVersion":91,"revision":216,"contentType":8378,"locale":31},{"sys":8373},{"type":14,"linkType":15,"id":16},"6emMzzW3RgF2Ld8LuOgcBQ","2025-12-15T22:27:12.356Z",{"sys":8377},{"id":23,"type":14,"linkType":24},{"sys":8379},{"type":14,"linkType":29,"id":5961},{"name":8381,"visibility":5987,"images":8382,"galleryFormat":5988,"gallerySize":7569,"gridColumns":5866,"gridSpacing":5990,"scrollImageSize":5989,"imageOptions":8406},"Sonic Ghosts image 7",[8383],{"metadata":8384,"sys":8387,"fields":8395},{"tags":8385,"concepts":8386},[],[],{"space":8388,"id":8390,"type":212,"createdAt":8391,"updatedAt":8392,"environment":8393,"publishedVersion":51,"revision":1123,"locale":31},{"sys":8389},{"type":14,"linkType":15,"id":16},"6LxIbG6yGdddc27gNWy3M8","2025-12-15T22:02:56.077Z","2025-12-15T22:27:09.888Z",{"sys":8394},{"id":23,"type":14,"linkType":24},{"title":8396,"description":8397,"file":8398},"images-179","Hyph11E (photography: Dre Romero)",{"url":8399,"details":8400,"fileName":8405,"contentType":228},"\u002F\u002Fimages.ctfassets.net\u002F2urh0izv0sep\u002F6LxIbG6yGdddc27gNWy3M8\u002F4af94f3684035e7408e49d1b5fe634b2\u002Fimages-179.png",{"size":8401,"image":8402},759886,{"width":8403,"height":8404},1238,839,"images-179.png",[4640],[],{"nodeType":143,"data":8409,"content":8410},{},[8411],{"nodeType":147,"value":219,"marks":8412,"data":8414},[8413],{"type":290},{},{"nodeType":143,"data":8416,"content":8417},{},[8418],{"nodeType":147,"value":219,"marks":8419,"data":8421},[8420],{"type":290},{},{"nodeType":143,"data":8423,"content":8424},{},[8425],{"nodeType":147,"value":219,"marks":8426,"data":8427},[],{},{"nodeType":6423,"data":8429,"content":8430},{},[8431,8435,8440,8444,8451],{"nodeType":147,"value":8432,"marks":8433,"data":8434},"1 For a similar observation, see: Chal Ravens, ‘The radical noise of Shanghai’s underground’, ",[],{},{"nodeType":147,"value":8436,"marks":8437,"data":8439},"DJ Mag",[8438],{"type":808},{},{"nodeType":147,"value":8441,"marks":8442,"data":8443},", 26 November 2019. ",[],{},{"nodeType":865,"data":8445,"content":8447},{"uri":8446},"https:\u002F\u002Fdjmag.com\u002Flongreads\u002Fradical-noise-shanghais-underground",[8448],{"nodeType":147,"value":8446,"marks":8449,"data":8450},[],{},{"nodeType":147,"value":6213,"marks":8452,"data":8453},[],{},{"nodeType":143,"data":8455,"content":8456},{},[8457],{"nodeType":147,"value":219,"marks":8458,"data":8459},[],{},{"nodeType":6423,"data":8461,"content":8462},{},[8463,8467,8474],{"nodeType":147,"value":8464,"marks":8465,"data":8466},"2 Travis Jeppesen, ‘Public Record: Travis Jeppesen on Osheyack’s Intimate Publics’, Artforum, vol.60, no.10 (Summer 2022), ",[],{},{"nodeType":865,"data":8468,"content":8470},{"uri":8469},"https:\u002F\u002Fwww.artforum.com\u002Fcolumns\u002Ftravis-jeppesen-on-osheyacks-intimate-publics-251845\u002F",[8471],{"nodeType":147,"value":8469,"marks":8472,"data":8473},[],{},{"nodeType":147,"value":6213,"marks":8475,"data":8476},[],{},{"nodeType":143,"data":8478,"content":8479},{},[8480],{"nodeType":147,"value":219,"marks":8481,"data":8482},[],{},{"nodeType":6423,"data":8484,"content":8485},{},[8486,8490,8495],{"nodeType":147,"value":8487,"marks":8488,"data":8489},"3 For an interesting read, see: Guglielmo Bottin, ‘EDM Theory and Fiction: The Conceptual Dimension of Musical Waves. A Conversation with Steve Goodman\u002FKode9’, ",[],{},{"nodeType":147,"value":8491,"marks":8492,"data":8494},"Sound Stage Screen 3",[8493],{"type":808},{},{"nodeType":147,"value":8496,"marks":8497,"data":8498},", no. 2 (July 2024): 131–56. ",[],{},{"nodeType":143,"data":8500,"content":8501},{},[8502],{"nodeType":147,"value":219,"marks":8503,"data":8504},[],{},{"nodeType":6423,"data":8506,"content":8507},{},[8508,8512,8517],{"nodeType":147,"value":8509,"marks":8510,"data":8511},"4 This quote comes from Shuang Li’s dancefloor peer Alvin Li, who noted that: ‘If one of the SVBKVLT members dropped a new track on Friday, you would very likely hear it at a club in Berlin, London, or Tokyo a week later.’ See: Alvin Li, ‘I’m Going Out Tonight’, in ",[],{},{"nodeType":147,"value":8513,"marks":8514,"data":8516},"Elmgreen and Dragset: After Dark ",[8515],{"type":808},{},{"nodeType":147,"value":8518,"marks":8519,"data":8520},"(Berlin: Holzwarth, 2023), 57. ",[],{},{"nodeType":143,"data":8522,"content":8523},{},[8524],{"nodeType":147,"value":219,"marks":8525,"data":8526},[],{},{"nodeType":6423,"data":8528,"content":8529},{},[8530,8534,8539],{"nodeType":147,"value":8531,"marks":8532,"data":8533},"5 Eshun’s Afrofuturism resists nostalgia, insisting on a forward-looking evaluation. He frames Breakbeat not as a return to African drumming but as an anticipatory technology – a ‘motion-capture device’ realised on vinyl before digital tools existed. Rooted in Black diasporic practices that rework origin myths, as early Detroit techno reshaped European synths, this temporal logic stands in sharp contrast to Sinofuturism and many forms of ethnofuturism, with its low-tech, high-concept core. See: Kodwo Eshun, ‘Motion Capture’, ",[],{},{"nodeType":147,"value":8535,"marks":8536,"data":8538},"More Brilliant than the Sun: Adventures in Sonic Fiction",[8537],{"type":808},{},{"nodeType":147,"value":8540,"marks":8541,"data":8542},", (Lon- don: Quartet Books, 1998), 175–193. ",[],{},{"nodeType":143,"data":8544,"content":8545},{},[8546],{"nodeType":147,"value":219,"marks":8547,"data":8548},[],{},{"nodeType":6423,"data":8550,"content":8551},{},[8552,8556,8561],{"nodeType":147,"value":8553,"marks":8554,"data":8555},"6 Nick Land later became involved in the neoreactionary movement from 2012 onward, framing democracy as an obstacle to technological and societal progress. For an analysis of the rise of neoreactionaries in relation to globalisation and their intellectual networks at the time, see Yuk Hui, ‘On the Unhappy Consciousness of Neoreactionaries’, ",[],{},{"nodeType":147,"value":8557,"marks":8558,"data":8560},"e-flux",[8559],{"type":808},{},{"nodeType":147,"value":8562,"marks":8563,"data":8564},", no. 81 (April 2017). ",[],{},{"nodeType":143,"data":8566,"content":8567},{},[8568],{"nodeType":147,"value":219,"marks":8569,"data":8570},[],{},{"nodeType":6423,"data":8572,"content":8573},{},[8574],{"nodeType":147,"value":8575,"marks":8576,"data":8577},"7 In their concept of the war machine, Deleuze and Guattari explore the relationship between the state, which initiates war, and the warrior, who is not necessarily a part of it but rather a nomad external to the state. The war machine serves as a metaphor for a mode of social, political, or creative organisation that exists outside the state’s control. ",[],{},{"nodeType":143,"data":8579,"content":8580},{},[8581],{"nodeType":147,"value":219,"marks":8582,"data":8583},[],{},{"nodeType":6423,"data":8585,"content":8586},{},[8587,8591,8596],{"nodeType":147,"value":8588,"marks":8589,"data":8590},"8 Zachary F. Price introduces ‘sonic kinesthesia’ to describe the embodied, affective experience of sound that transcends cultural boundaries. Price illustrates the concept through case studies such as Fred Ho, whose music blends jazz, Chinese opera, and martial arts philosophy into embodied cultural critique, and Wu-Tang Clan, who fuse African American hip-hop with martial arts imagery to generate cross-cultural sonic energy. See: Zachary F. Price, ",[],{},{"nodeType":147,"value":8592,"marks":8593,"data":8595},"Black Dragon: Af- ro-Asian Performance and the Martial Arts Imagination ",[8594],{"type":808},{},{"nodeType":147,"value":8597,"marks":8598,"data":8599},"(Ohio: Ohio State University Press, 2022). ",[],{},{"nodeType":143,"data":8601,"content":8602},{},[8603],{"nodeType":147,"value":219,"marks":8604,"data":8605},[],{},{"nodeType":6423,"data":8607,"content":8608},{},[8609,8613,8618],{"nodeType":147,"value":8610,"marks":8611,"data":8612},"9 Nick Land, ",[],{},{"nodeType":147,"value":8614,"marks":8615,"data":8617},"Templexity: Disordered Loops through Shanghai Time",[8616],{"type":808},{},{"nodeType":147,"value":8619,"marks":8620,"data":8621},", (Shanghai: Urbanatomy, 2014). ",[],{},{"nodeType":143,"data":8623,"content":8624},{},[8625],{"nodeType":147,"value":219,"marks":8626,"data":8627},[],{},{"nodeType":6423,"data":8629,"content":8630},{},[8631,8635,8640],{"nodeType":147,"value":8632,"marks":8633,"data":8634},"10 For a case from the contemporary art scene, see Gary Zhexi Zhang, ‘Sinofuturism and Its Uses: Contemporary Art and Diasporic Desire’, ",[],{},{"nodeType":147,"value":8636,"marks":8637,"data":8639},"Verge: Studies in Global Asias",[8638],{"type":808},{},{"nodeType":147,"value":8641,"marks":8642,"data":8643},", Vol. 7, No. 2 (Fall 2021): 86-92. ",[],{},{"nodeType":143,"data":8645,"content":8646},{},[8647],{"nodeType":147,"value":219,"marks":8648,"data":8649},[],{},{"nodeType":6423,"data":8651,"content":8652},{},[8653,8657,8662],{"nodeType":147,"value":8654,"marks":8655,"data":8656},"11 Carmen Herold, ‘China’s Sonic Fictions: Music, Technology, and the Phantasm of a Sinicized Future’, ",[],{},{"nodeType":147,"value":8658,"marks":8659,"data":8661},"SFRA Review",[8660],{"type":808},{},{"nodeType":147,"value":8663,"marks":8664,"data":8665},", vol. 50, no. 2-3 (2020). ",[],{},{"nodeType":143,"data":8667,"content":8668},{},[8669],{"nodeType":147,"value":219,"marks":8670,"data":8671},[],{},{"nodeType":6423,"data":8673,"content":8674},{},[8675,8679,8684,8688,8695],{"nodeType":147,"value":8676,"marks":8677,"data":8678},"12 Tom Mouna, ‘Journeys in the Chinese Club-Museum Ecosystem’, ",[],{},{"nodeType":147,"value":8680,"marks":8681,"data":8683},"Heichi Magazine",[8682],{"type":808},{},{"nodeType":147,"value":8685,"marks":8686,"data":8687},", 24 December 2020. ",[],{},{"nodeType":865,"data":8689,"content":8691},{"uri":8690},"https:\u002F\u002Fwww.heichimagazine.org\u002Fen\u002Farticles\u002F345\u002Fjourneys-in-the-chinese-club-museum-ecosystem",[8692],{"nodeType":147,"value":8690,"marks":8693,"data":8694},[],{},{"nodeType":147,"value":6213,"marks":8696,"data":8697},[],{},{"nodeType":143,"data":8699,"content":8700},{},[8701],{"nodeType":147,"value":219,"marks":8702,"data":8703},[],{},{"nodeType":6423,"data":8705,"content":8706},{},[8707],{"nodeType":147,"value":8708,"marks":8709,"data":8710},"13 Tom Mouna, ‘Journeys in the Chinese Club-Museum Ecosystem’. ",[],{},{"nodeType":143,"data":8712,"content":8713},{},[8714],{"nodeType":147,"value":219,"marks":8715,"data":8716},[],{},{"nodeType":6423,"data":8718,"content":8719},{},[8720],{"nodeType":147,"value":8721,"marks":8722,"data":8723},"14 Besides Mouna, Bristol musician Mun Sing noted Shanghai’s club scene ‘doesn’t have to be four-to-the-floor con- stantly. A lot of times in Europe that’s the basis – it’s techno, and anything outside of that is weird’. See: Chal Ravens, ‘The radical noise of Shanghai’s underground’. ",[],{},{"nodeType":143,"data":8725,"content":8726},{},[8727],{"nodeType":147,"value":219,"marks":8728,"data":8729},[],{},{"nodeType":6423,"data":8731,"content":8732},{},[8733],{"nodeType":147,"value":8734,"marks":8735,"data":8736},"15 Liu Shuwei, ‘The Cave of Swimmers’, unpublished, July 2022.",[],{},{"nodeType":143,"data":8738,"content":8739},{},[8740],{"nodeType":147,"value":219,"marks":8741,"data":8742},[],{},{"nodeType":6423,"data":8744,"content":8745},{},[8746,8750,8754,8759,8763,8771,8774,8779,8783,8787,8792,8796,8803],{"nodeType":147,"value":8747,"marks":8748,"data":8749},"16 ",[],{},{"nodeType":147,"value":8751,"marks":8752,"data":8753},"Bryan Grogan, ‘This Festival on the Beach is Redefining How to Experience Club Music in China’, ",[],{},{"nodeType":147,"value":8755,"marks":8756,"data":8758},"RADII, ",[8757],{"type":808},{},{"nodeType":147,"value":8760,"marks":8761,"data":8762},"25 May2021.",[],{},{"nodeType":865,"data":8764,"content":8766},{"uri":8765},"https:\u002F\u002Fradii.co\u002Farticle\u002Fzhao-dai",[8767],{"nodeType":147,"value":8768,"marks":8769,"data":8770},"https:\u002F\u002Fradii.co\u002F article\u002Fzhao-dai",[],{},{"nodeType":147,"value":6131,"marks":8772,"data":8773},[],{},{"nodeType":147,"value":8775,"marks":8776,"data":8778},"The New Mike",[8777],{"type":808},{},{"nodeType":147,"value":8780,"marks":8781,"data":8782},",",[],{},{"nodeType":147,"value":8784,"marks":8785,"data":8786}," ‘Does the Chinese Electronic Music Market Still Matter to the World?’, ",[],{},{"nodeType":147,"value":8788,"marks":8789,"data":8791},"Sonicdom",[8790],{"type":808},{},{"nodeType":147,"value":8793,"marks":8794,"data":8795},", 14 May 2025. ",[],{},{"nodeType":865,"data":8797,"content":8799},{"uri":8798},"https:\u002F\u002Fsonicdomrecords.com\u002Fchina-electronic-music-market-2025.html",[8800],{"nodeType":147,"value":8798,"marks":8801,"data":8802},[],{},{"nodeType":147,"value":6213,"marks":8804,"data":8805},[],{},{"nodeType":143,"data":8807,"content":8808},{},[8809],{"nodeType":147,"value":219,"marks":8810,"data":8811},[],{},{"nodeType":6423,"data":8813,"content":8814},{},[8815,8819,8824,8828,8835],{"nodeType":147,"value":8816,"marks":8817,"data":8818},"17 Kristen Bateman, ‘Miu Miu Leans All the Way Into Minimal Uniform Dressing’, ",[],{},{"nodeType":147,"value":8820,"marks":8821,"data":8823},"W Magazine",[8822],{"type":808},{},{"nodeType":147,"value":8825,"marks":8826,"data":8827},", 5 October 2022. ",[],{},{"nodeType":865,"data":8829,"content":8831},{"uri":8830},"https:\u002F\u002Fwww.wmagazine.com\u002Ffashion\u002Fmiu-miu-spring-2023-paris-fashion-week-review",[8832],{"nodeType":147,"value":8830,"marks":8833,"data":8834},[],{},{"nodeType":147,"value":6213,"marks":8836,"data":8837},[],{},{"nodeType":143,"data":8839,"content":8840},{},[8841],{"nodeType":147,"value":219,"marks":8842,"data":8843},[],{},{"nodeType":6423,"data":8845,"content":8846},{},[8847,8851,8856,8860,8867],{"nodeType":147,"value":8848,"marks":8849,"data":8850},"18 The Chinese version of this article takes its title from a lyric – ‘until the building collapses’ – by a Chinese indie rock band, which originally critiqued the 1990s closures of socialist state enterprises, and links it to the quiet shuttering of private museums today. See: Lai Fei, ‘A Eulogy to China’s Art Museums’, ",[],{},{"nodeType":147,"value":8852,"marks":8853,"data":8855},"ArtReview Asia",[8854],{"type":808},{},{"nodeType":147,"value":8857,"marks":8858,"data":8859},", 11 July 2025. ",[],{},{"nodeType":865,"data":8861,"content":8863},{"uri":8862},"https:\u002F\u002Fartreview. com\u002Fa-eulogy-to-chinas-art-museums-opinion-lai-fei\u002F",[8864],{"nodeType":147,"value":8862,"marks":8865,"data":8866},[],{},{"nodeType":147,"value":6213,"marks":8868,"data":8869},[],{},{"nodeType":143,"data":8871,"content":8872},{},[8873],{"nodeType":147,"value":219,"marks":8874,"data":8875},[],{},{"nodeType":6423,"data":8877,"content":8878},{},[8879,8883,8888],{"nodeType":147,"value":8880,"marks":8881,"data":8882},"19 Fisher’s concept of hauntology describes a cultural condition in which contemporary life is haunted by the lost futures of modernity, understood as a capitalist horizon. By analyzing music, film, and literature that embody spectral traces of the past, he critiques nostalgia and cultural stasis. See: Mark Fisher, ",[],{},{"nodeType":147,"value":8884,"marks":8885,"data":8887},"Ghosts of My Life: Writings on Depression, Hauntology and Lost Futures ",[8886],{"type":808},{},{"nodeType":147,"value":8889,"marks":8890,"data":8891},"(Winchester: Zero Books, 2014). ",[],{},{"nodeType":143,"data":8893,"content":8894},{},[8895],{"nodeType":147,"value":219,"marks":8896,"data":8897},[],{},{"nodeType":6423,"data":8899,"content":8900},{},[8901,8905,8910],{"nodeType":147,"value":8902,"marks":8903,"data":8904},"20 Another interesting aspect is that Fisher himself connected hauntology to futurism. See: Mark Fisher, ‘The Metaphysics of Crackle: Afrofuturism and Hauntology’, ",[],{},{"nodeType":147,"value":8906,"marks":8907,"data":8909},"Dancecult: Journal of Electronic Dance Music Culture 5",[8908],{"type":808},{},{"nodeType":147,"value":8911,"marks":8912,"data":8913},"(2): 42–55. (2013). ",[],{},{"nodeType":143,"data":8915,"content":8916},{},[8917],{"nodeType":147,"value":219,"marks":8918,"data":8919},[],{},{"nodeType":6423,"data":8921,"content":8922},{},[8923],{"nodeType":147,"value":8924,"marks":8925,"data":8926},"21 Even Kode9’s label name, Hyperdub, draws on the idea of hyperstition, reflecting the hope that theory and music can recursively shape each other. Perhaps the clearest example, however, is Fisher’s hauntology. While Derrida originally coined the term to describe how Marx’s specter haunts late capitalism, Fisher extended it into pop culture. Since his 2005 k-punk blog, his writing did more than interpret – it amplified emerging moods, influencing artists, labels, and listeners in a positive feedback loop. See: Merlin Coverley, Hauntology: Ghosts of Futures Past, Oldcastle Books, 2020. The Chinese version of this article takes its title from a lyric – ‘until the building collapses’ – by a Chinese indie rock ",[],{},{"nodeType":143,"data":8928,"content":8929},{},[8930],{"nodeType":147,"value":219,"marks":8931,"data":8932},[],{},{"nodeType":6423,"data":8934,"content":8935},{},[8936],{"nodeType":147,"value":8937,"marks":8938,"data":8939},"22 Carmen Herold, ‘China’s Sonic Fictions: Music, Technology, and the Phantasm of a Sinicized Future’. ",[],{},{"nodeType":143,"data":8941,"content":8942},{},[8943],{"nodeType":147,"value":219,"marks":8944,"data":8945},[],{},{"metadata":8947,"sys":8950,"fields":8955},{"tags":8948,"concepts":8949},[],[],{"space":8951,"id":7276,"type":212,"createdAt":7277,"updatedAt":7278,"environment":8953,"publishedVersion":2930,"revision":1078,"locale":31},{"sys":8952},{"type":14,"linkType":15,"id":16},{"sys":8954},{"id":23,"type":14,"linkType":24},{"title":7282,"description":7283,"file":8956},{"url":7285,"details":8957,"fileName":7291,"contentType":228},{"size":7287,"image":8958},{"width":7289,"height":7290},{"metadata":8960,"sys":8963,"fields":8973},{"tags":8961,"concepts":8962},[],[],{"space":8964,"id":8966,"type":18,"createdAt":8967,"updatedAt":8968,"environment":8969,"publishedVersion":7242,"revision":91,"contentType":8971,"locale":31},{"sys":8965},{"type":14,"linkType":15,"id":16},"2LyvANp7j80suVDstR6Fx1","2025-12-15T23:27:31.501Z","2025-12-19T16:03:15.841Z",{"sys":8970},{"id":23,"type":14,"linkType":24},{"sys":8972},{"type":14,"linkType":29,"id":3211},{"name":8974,"slug":8975,"issue":3215,"title":8976,"author":8977,"locationName":8978,"hero":8979,"sections":9041,"thumbnailImage":10125},"Sonic Ghosts (tc) 時光迴路中的幽靈騷音","sonic-ghosts-in-a-time-loop-on-the-end-of-sinofuturism-through-its-audiovisual-destination-tc","時光迴路中的幽靈騷音","陳壐安","上海",{"metadata":8980,"sys":8983,"fields":8993},{"tags":8981,"concepts":8982},[],[],{"space":8984,"id":8986,"type":18,"createdAt":8987,"updatedAt":8988,"environment":8989,"publishedVersion":679,"revision":1123,"contentType":8991,"locale":31},{"sys":8985},{"type":14,"linkType":15,"id":16},"7eX45RME2WmLCLg5WDemkY","2025-12-15T22:32:54.178Z","2025-12-15T22:35:31.962Z",{"sys":8990},{"id":23,"type":14,"linkType":24},{"sys":8992},{"type":14,"linkType":29,"id":3231},{"name":8994,"title":8976,"imageOption":3499,"imagesDisplay":8995,"imageRatio":5755,"image":8996,"imageSecond":9019},"Sonice Ghosts hero TC",[3545,6774,5754,5753],{"metadata":8997,"sys":9000,"fields":9008},{"tags":8998,"concepts":8999},[],[],{"space":9001,"id":9003,"type":212,"createdAt":9004,"updatedAt":9005,"environment":9006,"publishedVersion":679,"revision":51,"locale":31},{"sys":9002},{"type":14,"linkType":15,"id":16},"5OkauwbScCX73C0QyMQko0","2025-12-15T22:02:56.094Z","2025-12-19T10:09:11.422Z",{"sys":9007},{"id":23,"type":14,"linkType":24},{"title":9009,"description":9010,"file":9011},"images-180","_Sinofuturism (1839–2046 AD)_, 2016, exhibition view, at the exhibition Ø, Corsica Studios, London, 2017. Courtesy of the artist and Sadie Coles HQ\n\n陸明龍，《中華未來主義(1839–2046 AD)》，2016。展覽現場:《Ø》，倫敦Corsica Studios，2017。圖片致謝藝術家和Sadie Coles 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",[],{},{"nodeType":7417,"data":9071,"content":9072},{},[9073],{"nodeType":147,"value":9074,"marks":9075,"data":9076},"中華未來主義的幽靈騷音",[],{},{"nodeType":143,"data":9078,"content":9079},{},[9080],{"nodeType":147,"value":219,"marks":9081,"data":9082},[],{},{"nodeType":143,"data":9084,"content":9085},{},[9086],{"nodeType":147,"value":9087,"marks":9088,"data":9089},"2020 年，藝術家李爽離開了上海——她藝術生涯起步的地方，充滿夜生活記憶的城市。當時，她赴柏林舉辦個展，恰逢疫情爆發之初，於是便一直滯留歐洲未歸。四年後，她帶著《 月球的距離 》回到故地，在 Prada 榮宅——一幢裝飾藝術風的百年名邸——舉辦她在中國的首個個展。展覽標題取自作家卡爾維諾 ( Italo Calvino ) 的一則宇宙寓言——故事中，月亮曾經離地球如此接近，人們可以輕易援梯攀月，直到兩顆天體漸行漸遠，伴隨故事主角未竟的愛意，最終化為永恆的別離。穿行於整幢榮宅的三層樓之間，可以感受到李爽重情緒鋪陳而非文字敘述——她以聲音、光綫與建築的氛圍，編織出情感的迴路。例如她的裝置作品用時鐘、吊燈，以及牆面作品中的若干童年物件——它們自然融入榮宅場景，甚至彷彿讓你感覺有位孤單的女孩仍住在此處。展覽名稱所揭示的行星級疏離感，在她 2022 年的作品《似曾相識 》中被具象化: 錄像交錯呈現兩組視角——一組來自日內瓦動物救援中心，由鴨子視角拍攝園區畫面 ; 另一組則記錄她遠距策劃的表演，二十位演出者頭戴攝像機，代替她向上海的朋友道別、擁抱。這種幽靈般的距離感，也延伸到造型宛如塔特林塔的吊燈裝置《 也帶著一箱徒勞 》與《 末日愛人 》( 均為 2024 年)。兩件作品的聲音都由 Hyph11E 駕馭——她曾是李爽在上海璀璨夜色裡的舞伴。",[],{},{"nodeType":5945,"data":9091,"content":9132},{"target":9092},{"metadata":9093,"sys":9096,"fields":9105},{"tags":9094,"concepts":9095},[],[],{"space":9097,"id":9099,"type":18,"createdAt":9100,"updatedAt":9100,"environment":9101,"publishedVersion":51,"revision":216,"contentType":9103,"locale":31},{"sys":9098},{"type":14,"linkType":15,"id":16},"jftKjGxqu82JkYBorklgn","2025-12-16T00:10:45.919Z",{"sys":9102},{"id":23,"type":14,"linkType":24},{"sys":9104},{"type":14,"linkType":29,"id":5961},{"name":9106,"images":9107,"visibility":5987,"galleryFormat":5988,"gallerySize":5989,"gridColumns":5866,"gridSpacing":5990,"scrollImageSize":5989,"imageOptions":9131},"Sonice Ghost",[9108],{"metadata":9109,"sys":9112,"fields":9120},{"tags":9110,"concepts":9111},[],[],{"space":9113,"id":9115,"type":212,"createdAt":9116,"updatedAt":9117,"environment":9118,"publishedVersion":25,"revision":51,"locale":31},{"sys":9114},{"type":14,"linkType":15,"id":16},"5CFRDuwVp7TP6ED1tLgIZX","2025-12-15T22:02:56.105Z","2025-12-19T11:21:13.416Z",{"sys":9119},{"id":23,"type":14,"linkType":24},{"title":9121,"description":9122,"file":9123},"images-181","Shuang Li, _Distance of the Moon_, exhibition view, Prada Rong Zhai, Shanghai, 2024 ( photography: Alessandro Wang )\n\n李爽，《月球的距離》，展覽現場，上海Prada榮宅，2024 ( 攝影 : Alessandro Wang )",{"url":9124,"details":9125,"fileName":9130,"contentType":228},"\u002F\u002Fimages.ctfassets.net\u002F2urh0izv0sep\u002F5CFRDuwVp7TP6ED1tLgIZX\u002F9cdfcde5836b954c2fa4a55d7affe126\u002Fimages-181.png",{"size":9126,"image":9127},5088508,{"width":9128,"height":9129},2558,1821,"images-181.png",[4640],[],{"nodeType":143,"data":9134,"content":9135},{},[9136,9140,9144,9148,9152],{"nodeType":147,"value":9137,"marks":9138,"data":9139},"雖然展覽裡沒明說，但李爽和 Hyph11E 的合作，其實折射出那一批地下電子音樂世代的互動與成長。我印象極深的是 Hyph11E 音場凌厲。一位友人曾向我解釋道，這座一向少有律動的城市，她的低音節拍才足以震醒身體律動，而層疊的音景質感豐富，容易讓這座大家還在學習探索的年輕電子樂城市保持聽覺的注意力。",[],{},{"nodeType":147,"value":5866,"marks":9141,"data":9143},[9142],{"type":5869},{},{"nodeType":147,"value":9145,"marks":9146,"data":9147}," 上海這個城市的俱樂部場景，在短短十年間迅速崛起，又迅速消失——當年 SVBKVLT 和 Genome 6.66 Mbp 等本土廠牌的音樂人打響國際名號，塑造了這座國際城市的聲浪辨識度。直到 2022 年疫情封城，原本活躍的創作者都離開了，也帶走了一度讓人熟悉的城市韻律 : Hyph11E 搬到英國，Scintii 前往台北， Osheyack 則以告別之作《 Intimate Publics 》( 2022 ) 向上海地下電子音樂場景致敬，反思藝術家與社群的關係。",[],{},{"nodeType":147,"value":6015,"marks":9149,"data":9151},[9150],{"type":5869},{},{"nodeType":147,"value":9153,"marks":9154,"data":9155}," 李爽和他們的合作，其實可以追溯到那段時期，其蓬勃的跨界互動不限於聲音、影像、表演。如今，那股浪潮早已滑出城市軌道，就像卡爾維諾故事結尾中分離的戀人，以及遠去的月球。",[],{},{"nodeType":143,"data":9157,"content":9158},{},[9159,9163,9167],{"nodeType":147,"value":9160,"marks":9161,"data":9162},"在聽過這些背景後，不難在吊燈裝置如幽靈騒音的閃爍中，捕捉到一絲中華未來主義的餘韻。最早提出這個概念的，正是一位高度愛好理論的音樂製作人 Steve Goodman ( Kode9 )，後來，這一說法又與高速崛起的中國俱樂部場景共軌，因此也層層交織了幾波的理論與聲音實踐。",[],{},{"nodeType":147,"value":6039,"marks":9164,"data":9166},[9165],{"type":5869},{},{"nodeType":147,"value":9168,"marks":9169,"data":9170}," 在 2010 年代，中華未來主義伴隨其內涵的激烈爭論迅速走紅，其核心反映人們試圖回應一種美學與政治氛圍 : 2008 年金融危機後中國的快速崛起，同時也折射出向多極化世界秩序轉向的徵兆。它從未形成正式運動，而是一個提供技術文化想像的鬆散場域——透過這個概念，人們在音樂、視覺文化、數字媒體與文學文本中尋找投射想像的可能。雖然許多本地藝術家對這類標籤心存戒慎 (我稍後會回到這點)，看著李爽那件其視覺剪輯語法宛如電子樂 VJ 的錄像作品——座落在大型 Art Deco 彩繪穹頂下——再加上展覽對聲光的編排，隱約喚起了走進電子樂俱樂部的感受，也與這座復古未來主義宅邸本身的奢華宴會過往形成微妙呼應。",[],{},{"nodeType":5945,"data":9172,"content":9214},{"target":9173},{"metadata":9174,"sys":9177,"fields":9187},{"tags":9175,"concepts":9176},[],[],{"space":9178,"id":9180,"type":18,"createdAt":9181,"updatedAt":9182,"environment":9183,"publishedVersion":26,"revision":1123,"contentType":9185,"locale":31},{"sys":9179},{"type":14,"linkType":15,"id":16},"6GtGacu22ErVZqrz2UJ05X","2025-12-16T00:09:44.278Z","2025-12-16T00:09:48.042Z",{"sys":9184},{"id":23,"type":14,"linkType":24},{"sys":9186},{"type":14,"linkType":29,"id":5961},{"name":9188,"images":9189,"visibility":5987,"galleryFormat":5988,"gallerySize":7051,"gridColumns":5866,"gridSpacing":5990,"scrollImageSize":5989,"imageOptions":9213},"Sonice Ghost image 11",[9190],{"metadata":9191,"sys":9194,"fields":9202},{"tags":9192,"concepts":9193},[],[],{"space":9195,"id":9197,"type":212,"createdAt":9198,"updatedAt":9199,"environment":9200,"publishedVersion":70,"revision":51,"locale":31},{"sys":9196},{"type":14,"linkType":15,"id":16},"1KceiKB6CdSR6fMwoZT7Ye","2025-12-15T22:02:56.091Z","2025-12-19T11:22:24.425Z",{"sys":9201},{"id":23,"type":14,"linkType":24},{"title":9203,"description":9204,"file":9205},"images-182","Shuang Li, _In Translation_, a special project in collaboration with Miuccia Prada for Miu Miu SS 2023 show, Palais d’Iéna, Paris, 2022 ( photography : Agostino Osio )\n\n李爽 ，《 In Translation 》， 與 Miuccia Prada 合作的 Miu Miu 2023 春夏系列秀場特別項目，巴黎耶拿宮，2022年 (攝影 : Agostino Osio)",{"url":9206,"details":9207,"fileName":9212,"contentType":228},"\u002F\u002Fimages.ctfassets.net\u002F2urh0izv0sep\u002F1KceiKB6CdSR6fMwoZT7Ye\u002Fc1f12f937c264470b26dce4e6eee0524\u002Fimages-182.png",{"size":9208,"image":9209},7781733,{"width":9210,"height":9211},3452,2291,"images-182.png",[4640],[],{"nodeType":143,"data":9216,"content":9217},{},[9218],{"nodeType":147,"value":9219,"marks":9220,"data":9221},"《 也帶著一箱徒勞 》位於榮宅入口上方的一個小閣樓——像是低調的開場作品。這段聲音散文由藝術家本人以合成器加工的機械音色娓娓道來，聲響逐漸融入夢幻般的 60 年代未來主義音景，最終收束於 KTV 風格的曲子。另一件視聽裝置《 末日愛人 》則由一對吊燈構成，懸掛在寬敞閣樓的天花板上。它們的光影與聲響互動，如同兩位 DJ 同場較勁，在不斷變化的空間氛圍中漂移。樂曲的 BPM 偶爾短暫上揚，輕輕撥動觀眾的身體節奏，但從未真正推向可以在舞池中舞動的節奏。",[],{},{"nodeType":143,"data":9223,"content":9224},{},[9225,9229],{"nodeType":147,"value":9226,"marks":9227,"data":9228},"雖然展覽附註說明了聲音作品取材自李爽與母親在疫情期間的文字魚雁往返，但實際聆聽時，這兩段抽象聲景中，針對家的思念和懷舊感反而不那麼明顯。在《 也帶著一箱徒勞 》中，多數語句經過剪接與混音——家人之間的訊息更像是被吸收進俱樂部的脈動之中。總而言之，展覽句句不提俱樂部，但在我看來，幾乎是句句不離俱樂部。在混音的縫隙裡，可以捕捉到對 2010 年代俱樂部處於「 全球當代頂端 」的樂觀主義時期的念想。而中華未來主義的餘韻，也以一種已然消失的形式出現，以有距離的方式再度被折射出來。",[],{},{"nodeType":147,"value":6183,"marks":9230,"data":9232},[9231],{"type":5869},{},{"nodeType":143,"data":9234,"content":9235},{},[9236],{"nodeType":147,"value":9237,"marks":9238,"data":9239},"對仍在上海的人而言，《 月球的距離 》與其說是呈現了李爽從遠方回歸，更像是關於從過去傳來的回聲。關於中華未來主義崛起的討論多如牛毛，但鮮少有人觸及它如何淪為過氣明星，以及它如何透支了人們對城市未來的想像。追溯這個概念語彙的社會生命歷程，我試圖呈現中華未來主義在舞池上的實踐與在書寫中的表述。將這兩種面貌並置，其生產力讓我們看到這則聲音文化的思想史、從它在英國的萌牙到最終與 2010 年代中國場景的纏結。這背後揭示出一種時間經濟:表面看似持續前進，實則受困在一種控制論的反饋迴路之中。從中華未來主義與費沙 ( Mark Fisher ) 的幽靈論的比較中，我們可以對這背後的趨力一窺一二。儘管兩者的時間感表面上似是大相逕庭，實際上卻共享對超越性奇點 ( singularity ) 的執念——一個顛覆系統、加速未來的臨界時刻——同時也暴露了它們共同的局限。",[],{},{"nodeType":7417,"data":9241,"content":9242},{},[9243],{"nodeType":147,"value":9244,"marks":9245,"data":9246},"作為概念的中華未來主義",[],{},{"nodeType":143,"data":9248,"content":9249},{},[9250,9254,9258,9262,9266,9270,9274],{"nodeType":147,"value":9251,"marks":9252,"data":9253},"北京招待所俱樂部的共同創辦人李卡門 ( Carmen Herold ) 在其2020年發表的文章〈 中國的音浪小說:音樂、科技與中國化未來的幻象 〉中，描繪出中華未來主義的思想譜系。儘管這一概念自流行以來，常被拿來與非洲未來主義進行比較討論，但鮮有論者會像她那樣，將其源頭回溯至英籍迦納裔理論家 Kodwo Eshun 的系譜中。這位著名的樂評認為，非洲未來主義的力量在於如何以未來的視野將當下進行調頻，將離散非裔社群的時間感運用在聲音與思辨創作之中。",[],{},{"nodeType":147,"value":6208,"marks":9255,"data":9257},[9256],{"type":5869},{},{"nodeType":147,"value":9259,"marks":9260,"data":9261}," 李卡門將中華未來主義的開端定在 Eshun 在 1996 年的「虛擬未來」論壇上發表了介紹非洲未來主義的講座。這一概念隨即撼動了「虛擬未來」的組織方成員——華威大學的邊緣哲學團體控制論文化研究中心 ( CCRU )。儘管其哲學影響深遠，不得不說該團體創辦人之一的 Nick Land 後來參與極右派思潮而備受爭議。",[],{},{"nodeType":147,"value":6240,"marks":9263,"data":9265},[9264],{"type":5869},{},{"nodeType":147,"value":9267,"marks":9268,"data":9269}," CCRU 較為著名的影響在於他們當時透過德勒茲的架構重新解讀技術奇點，但此處關鍵在於他們結合鋭舞樂曲來推動哲學概念的發展。而 Eshun 作為概念電子樂的重要人物，也催生了 Kode9 在 1998 年發表一篇思辨性的宣言〈 飛錢炸場 : 中華未來主義的暗流貨幣 〉。文本將黑幫組織三合會比作德勒茲的戰爭機器",[],{},{"nodeType":147,"value":6306,"marks":9271,"data":9273},[9272],{"type":5869},{},{"nodeType":147,"value":9275,"marks":9276,"data":9277},"，並將易經與萊布尼茲二進制做比較，飛錢則被構思為一種去中心化加密系統的早期版本，從而將東西方的技術文化敘事看作為非綫性的平行宇宙，而非階層性的上下等級結構。",[],{},{"nodeType":143,"data":9279,"content":9280},{},[9281,9285],{"nodeType":147,"value":9282,"marks":9283,"data":9284},"李卡門一針見血地指出，飛錢的概念帶有將中國視為恆久神秘對象進行迷戀的嫌疑。她也警告，這種東方主義視角容易使理論變得張冠李戴——她認為這種傾向也延續到 Kode9 在 2005 年將傳統中國調式融入倫敦地下電子樂的選輯《 SinoGrime 》。然而，如果考慮到 Kode9 的東方風源自非裔 Grime 樂手 Jammer 的《 中國佬 》和 Wiley 的《 上海 》( 皆為2003 年 )，我們或可進一步以《 中國佬 》為例展開分析 : 取樣自李連杰電影《 太極張三豐 》( 1993 ) 的二胡旋律，取其鼻音與滑奏，《 中國佬 》 置入黑人對亞裔武術的歷史情感聯結 ; 當 Kode9 在《 SinoGrime 》中進一步命名這個亞非文化語彙，並隨後與 Hyph11E 和 ChaCha 等多位中國音樂人展開合作——李卡門也對此表達肯定——上述事件應被視為同一條連結帝國的非洲離散未來至中國的跨文化動覺迴路。簡言之，那些原先在單件作品中看似異國風情的挪用，若置於更長的動態脈絡中，便可被重新理解為扎克瑞普賴斯 ( Zachary F. Price ) 所提出的亞非「 聲波動覺 」 ( sonic kinesthesia ) ——一種透過聲音與動態所傳遞的跨文化感覺經驗。 ",[],{},{"nodeType":147,"value":6315,"marks":9286,"data":9288},[9287],{"type":5869},{},{"nodeType":143,"data":9290,"content":9291},{},[9292,9296,9300],{"nodeType":147,"value":9293,"marks":9294,"data":9295},"話雖如此，2010 年代中國的場景幾乎沒有做出多少與亞非另類未來有關的建樹。跨文化動覺的許諾也從未真正落實成為任何形式的殖民文物返還或者政治抗爭。要觀察這時期的中國如何被視為未來的目的地，更清晰的切入點或許是它在流行文化中的現身。 2012 年荷里活科幻片《 時凶獵殺 》( Looper ) 原本計劃將故事場景設於巴黎，卻在拍攝途中臨時決定以上海取而代之。片中，主角依然為準備巴黎的退休生活而學法語，成為原設定所遺留的唯一痕跡。在他後來倉皇逃亡的片段中，我們瞥見了黃浦江的貨輪，映著陸家嘴金融區的天際綫。自此，上海首次成為荷里活鏡頭下的未來場景。",[],{},{"nodeType":147,"value":6338,"marks":9297,"data":9299},[9298],{"type":5869},{},{"nodeType":147,"value":9301,"marks":9302,"data":9303}," 緊接著，同年上映的占士邦電影《 新鐵金剛 : 智破天凶城 》( Skyfall ) 則透過後製，將關鍵的摩天樓頂決鬥場景置於東方明珠的夜色之下，電信及光纖等中文 LED 廣告則映射在近景中。到了 2013 年，科幻片《 她 》更將這種幻想推向極致——影片大量在上海拍攝，以其新興的天際綫取代洛杉磯，成為人與人工智能之間孤寂愛戀的城市背景。",[],{},{"nodeType":143,"data":9305,"content":9306},{},[9307],{"nodeType":147,"value":9308,"marks":9309,"data":9310},"與此同一時期，在專輯《 SinoGrime 》之後，Kode9 開始頻繁走訪上海，成了庇護所 ( 2007–2016 ) 的演出常客——這家座落在居民區防空洞的電子樂俱樂部，也是最早引介各種新興音樂類型的據點，包括 Grime ( 生猛而高轉速的倫敦電子饒舌 )、Footwork ( 源於芝加哥競舞用的高速切分音節 )與 Dubstep ( 曲風以低頻晃動、稀疏切分和掉拍為特徵 )。通過培養新興音樂品味和樂於嘗鮮的觀眾群，庇護所除了吸引到國際明星如 Kode9 和 Shackleton，也培養出一批本地創作者——Tzusing、Swimful、Hyph11E、Osheyack——後來也將這些上海本土製作人推向國際舞台;這股勢能亦由庇護所的繼任者 Club All 延續下去。",[],{},{"nodeType":5945,"data":9312,"content":9352},{"target":9313},{"metadata":9314,"sys":9317,"fields":9326},{"tags":9315,"concepts":9316},[],[],{"space":9318,"id":9320,"type":18,"createdAt":9321,"updatedAt":9321,"environment":9322,"publishedVersion":91,"revision":216,"contentType":9324,"locale":31},{"sys":9319},{"type":14,"linkType":15,"id":16},"3WO5jfwDp0S3HPj4LojRlx","2025-12-16T00:07:48.676Z",{"sys":9323},{"id":23,"type":14,"linkType":24},{"sys":9325},{"type":14,"linkType":29,"id":5961},{"name":9327,"images":9328,"visibility":5987,"galleryFormat":5988,"gallerySize":5989,"gridColumns":5866,"gridSpacing":5990,"scrollImageSize":5989,"imageOptions":9351},"Sonice Ghost image 10",[9329],{"metadata":9330,"sys":9333,"fields":9341},{"tags":9331,"concepts":9332},[],[],{"space":9334,"id":9336,"type":212,"createdAt":9337,"updatedAt":9338,"environment":9339,"publishedVersion":50,"revision":26,"locale":31},{"sys":9335},{"type":14,"linkType":15,"id":16},"5HSb1M6xhagRUxucYt1tQN","2025-12-15T22:02:56.102Z","2025-12-19T11:22:47.847Z",{"sys":9340},{"id":23,"type":14,"linkType":24},{"title":9342,"description":9343,"file":9344},"images-183","Liu Shuwei, _Shadows Returned_ series, photography, 2015–16. Courtesy of the artist\n\n劉樹偉，《影子折返》系列，2015-16， 攝影。圖片致謝藝術家",{"url":9345,"details":9346,"fileName":9350,"contentType":228},"\u002F\u002Fimages.ctfassets.net\u002F2urh0izv0sep\u002F5HSb1M6xhagRUxucYt1tQN\u002F91726af59be9085381756ee083471d23\u002Fimages-183.png",{"size":9347,"image":9348},3077335,{"width":9349,"height":3599},1764,"images-183.png",[4640],[],{"nodeType":143,"data":9354,"content":9355},{},[9356,9360],{"nodeType":147,"value":9357,"marks":9358,"data":9359},"到 2016 年，隨著中國推出產業升級的中國製造 2025，並進一步推動跨歐亞基礎設施戰略一帶一路倡議，中華未來主義的概念更是透過陸明龍 ( Lawrence Lek ) 的論文影片《 中華未來主義 ( 1839–2046 AD ) 》( 2016 ) 大放異彩。這件作品以機械語調旁白，延伸 「 飛錢 」 的敘述，描繪中國科技崛起的各種陰謀論。儘管有藝術家正面評價其為思辨創作開闢新視野，許多駐中國的音樂人與當代藝術家卻感受到被代表與誤讀，並指出其視角主要屬於離散社群的外部觀點。 10 正如李卡門觀察到的，本土音樂製作人更傾向將焦點放回實際生活 : Osheyack 的《 Memory Hierarchy 》( 2020 ) 檢視充斥監控的城市景觀，而深圳俱樂部 Oil 的常駐樂手Warmchainss則將其表演視為全球資本主義與科技專制下生活的思辨回應。",[],{},{"nodeType":147,"value":6363,"marks":9361,"data":9363},[9362],{"type":5869},{},{"nodeType":7417,"data":9365,"content":9366},{},[9367],{"nodeType":147,"value":9368,"marks":9369,"data":9370},"舞池中的中華未來主義",[],{},{"nodeType":143,"data":9372,"content":9373},{},[9374,9378,9382],{"nodeType":147,"value":9375,"marks":9376,"data":9377},"儘管李卡門以身分政治的視角提出了尖銳批評，若將中華未來主義視為一種從文化本體論出發，對科技奇點的追求，那麼它最清晰的表述或許就出現在 2010 年代中國各個城市迅速開設的俱樂部。 2015 年至 2020 年曾旅居北京的音樂製作人 Tom Mouna 在形容中國場景與典型俱樂部文化的鮮明差異時，以「 美術館舞池生態系 」稱之。",[],{},{"nodeType":147,"value":8037,"marks":9379,"data":9381},[9380],{"type":5869},{},{"nodeType":147,"value":9383,"marks":9384,"data":9385}," 對於白天在北京藝術圈上班的 Mouna 而言，這一新興現象的特點在於各個俱樂部對設備升級的熱衷。他追溯至 2016 年 : 當時上海正式一躍成為全球俱樂部關注的熱點，本地廠牌紛紛崛起，培養出兼容並蓄的樂手譜系，本土製作人也成為全球網絡中的關鍵節點。",[],{},{"nodeType":143,"data":9387,"content":9388},{},[9389,9393,9397],{"nodeType":147,"value":9390,"marks":9391,"data":9392},"到了 2017 年，由視覺藝術家金勞頓 ( Kim Laughton ) 設計的 Club All 問世，為上海夜生活開啟了新時代，設備升級後的「 聲光體驗 」成為焦點。舞台上高聳的 LED 螢幕放映音樂人與視覺藝術家合作的沉浸式影像——通常是遊戲引擎製作的影像——入口處的螢幕則不斷輪播活動預告，其中一則標語寫著 :「 優待你的眼睛，與耳朵享受同等重要 」。",[],{},{"nodeType":147,"value":8053,"marks":9394,"data":9396},[9395],{"type":5869},{},{"nodeType":147,"value":9398,"marks":9399,"data":9400}," 俱樂部內部金屬質感的表面、鏡面牆與極簡家具，與 Club All 的前身庇護所本身簡陋卻令人著迷的地下氛圍形成鮮明對比。 Club All 也代表了當時中國各地陸續湧現、強調高科技與室內設計升級的新一代俱樂部——一種以多媒體與視覺奇觀為核心的夜生活樣貌。",[],{},{"nodeType":5945,"data":9402,"content":9443},{"target":9403},{"metadata":9404,"sys":9407,"fields":9416},{"tags":9405,"concepts":9406},[],[],{"space":9408,"id":9410,"type":18,"createdAt":9411,"updatedAt":9411,"environment":9412,"publishedVersion":51,"revision":216,"contentType":9414,"locale":31},{"sys":9409},{"type":14,"linkType":15,"id":16},"5sedRYceqlP31kPMXhS6qZ","2025-12-16T00:07:08.606Z",{"sys":9413},{"id":23,"type":14,"linkType":24},{"sys":9415},{"type":14,"linkType":29,"id":5961},{"name":9417,"images":9418,"visibility":5987,"galleryFormat":5988,"gallerySize":7051,"gridColumns":5866,"gridSpacing":5990,"scrollImageSize":5989,"imageOptions":9442},"Sonice Ghost image 9",[9419],{"metadata":9420,"sys":9423,"fields":9431},{"tags":9421,"concepts":9422},[],[],{"space":9424,"id":9426,"type":212,"createdAt":9427,"updatedAt":9428,"environment":9429,"publishedVersion":50,"revision":26,"locale":31},{"sys":9425},{"type":14,"linkType":15,"id":16},"5DSEdFqgTWZtcC0YcEh5h0","2025-12-15T22:02:56.097Z","2025-12-19T11:23:29.477Z",{"sys":9430},{"id":23,"type":14,"linkType":24},{"title":9432,"description":9433,"file":9434},"images-184","Tianzhuo Chen, _Trance_, 2019, performance view, M Woods, Beijing, 31 October 2019 (photography: Peiyu Shen)\n\n陳天灼，《入迷》，2019，表演現場，北京木木美術館，2019年10月31日。(攝影: 申佩玉)",{"url":9435,"details":9436,"fileName":9441,"contentType":228},"\u002F\u002Fimages.ctfassets.net\u002F2urh0izv0sep\u002F5DSEdFqgTWZtcC0YcEh5h0\u002F7336f69540fe859321c075a7ebd41b69\u002Fimages-184.png",{"size":9437,"image":9438},3631271,{"width":9439,"height":9440},1772,1176,"images-184.png",[4640],[],{"nodeType":143,"data":9445,"content":9446},{},[9447],{"nodeType":147,"value":9448,"marks":9449,"data":9450},"就在上海的俱樂部以硬件升級和視覺奇觀主導，意外地呼應著 2010 年代中國藝術界的美術館熱潮，北京的藝術空間亦敏銳意識到這種跨界混合的潛力 : 2017 年，多個藝術組織在首都共同發起「夜生活駐地項目」，邀請音樂人與視覺藝術家探索電子樂與當代藝術的交界。翌年，北京木木美術館成立了跨領域的 guī 空間，以促進聲響與視覺的創新對話。 2019  年，藝術家陳天灼的個展《 入迷 》便是此種匯流的縮影——兩天不間斷的高強度沉浸式演出，讓木木美術館瞬間化身為舞池與展演空間的交錯地帶，模糊了俱樂部文化與當代藝術之間的界綫。",[],{},{"nodeType":143,"data":9452,"content":9453},{},[9454,9458,9462],{"nodeType":147,"value":9455,"marks":9456,"data":9457},"不過，真正與中華未來主義背後的樂觀主義本身最為契合的一點，或許是這一文化變異背後的敘事轉向——一種將中國看作甚麼都有可能的敘事。 Mouna 指出，與歐美各個城市的俱樂部各有風格的模式不同，中國的俱樂部文化兼容並蓄地吸納了全球的聲音文化，對於音樂人而言這正是一個充滿可能性的沃土，從而抵抗並重塑既定的視聽文化秩序——直到疫情的到來，使一切戛然而止。",[],{},{"nodeType":147,"value":8102,"marks":9459,"data":9461},[9460],{"type":5869},{},{"nodeType":147,"value":9463,"marks":9464,"data":9465}," 2020 年 5 月，李佳桓在第一波新冠疫情初次封控下解封的 Club All 策劃了為期兩晚的展演《 流連 》，邀請了他的舞池同伴李爽與劉樹偉，以及來自其他地區的藝術家。李佳桓在新聞稿中引用了「 俱樂部之死」( Clubsterben ) 以描述疫情對夜生活生態的衝擊。展覽既是為了協助面臨倒閉危機的俱樂部渡過難關，也試圖反思俱樂部文化的本體、共同體生命與跨國團結的可能性。",[],{},{"nodeType":143,"data":9467,"content":9468},{},[9469],{"nodeType":147,"value":9470,"marks":9471,"data":9472},"《 流連 》讓單純走進俱樂部的平凡舉動轉化為一種集體實踐。藝術家慷慨分享影像作品，觀展本身變成塑造團結的行動。展覽設想了俱樂部在未來不久很可能要關門的場景，從而把握這個契機，將舞池化作對於這個社群群體進行反思的場域。譚勁軒 ( Kenneth Tan ) 的作品《 M 的全部 》( 2019 ) 探討舞蹈文化如何形塑性別認同; 李爽的《 T 》( 2017–18 ) 則與 Osheyack 合作聲音，追溯中國女性的雙足作為慾望對象的歷史——從淘寶襪子銷售的客服頁面到纏足的血腥過往; 與此同時，劉樹偉以一系列幻覺般的人像重現庇護所全盛時期的氛圍，追憶已消逝的空間，並將其轉化為對正在消失之事物的紀念。在一篇隨附著這些庇護所攝影圖像的文字書寫中，劉樹偉以多物種、多重感官的想像來揚棄疫情本身的沉重，讓人彷彿再次感受到那個地下的庇護所——其潮濕的空氣、馬賽克牆面與幽暗的通道，彷彿仍在城市的濕潤氣息中盤旋:",[],{},{"nodeType":8159,"data":9474,"content":9475},{},[9476],{"nodeType":143,"data":9477,"content":9478},{},[9479,9483],{"nodeType":147,"value":9480,"marks":9481,"data":9482},"也許此刻的庇護所已經有雨水灌進去，也許那些拱形上，馬賽克的磁磚縫隙之間已經長滿了蘑菇，那些蘑菇或許本來就是比人類更懂音樂的存在。曾經的音樂也被某些物質紀錄下來，以我們尚且無法察覺的方式——仍然有迴響在波動，在播放。蘑菇理應比人類更懂音樂，你看它們的身體，再看看我們自己的。 ",[],{},{"nodeType":147,"value":8170,"marks":9484,"data":9486},[9485],{"type":5869},{},{"nodeType":143,"data":9488,"content":9489},{},[9490],{"nodeType":147,"value":9491,"marks":9492,"data":9493},"透過這樣的想像，劉樹偉召喚出「 幽靈騒音 」的形態——將真菌視為俱樂部聲音的在場見證，是人類記憶的物質延伸。那些訪客——包括曾經來跳舞的客人，以及如今是這些真菌機體——促進了感知的激進變革，提供一種更全面地體察這個空間、其逝去的節奏，以及餘音縈繞的幽靈回聲。\n",[],{},{"nodeType":7417,"data":9495,"content":9496},{},[9497],{"nodeType":147,"value":9498,"marks":9499,"data":9500},"中華未來主義的幽靈騷音(迴響)",[],{},{"nodeType":143,"data":9502,"content":9503},{},[9504],{"nodeType":147,"value":219,"marks":9505,"data":9506},[],{},{"nodeType":143,"data":9508,"content":9509},{},[9510,9514,9518],{"nodeType":147,"value":9511,"marks":9512,"data":9513},"到了 2022 年，長期清零政策的壓力引發了這個不斷提供中華未來主義音樂養份的社群大舉離散，其中包括 SVBKVLT 廠牌社群的多數成員，以及李卡門於 2020 年訪談過的創作者們。許多曾批評中華未來主義帶有科技東方主義投射的嫌疑，對此感到不喜的本地製作人，如今自己也進入了一種離散狀態，使得「 中國 」對他們而言不再是一種具身經驗，而是流通的符號。矛盾的是，當他們離開中國之際，這個詞彙的流通也隨之停滯。隨著上海與北京俱樂部紛紛面臨票房下滑經營困難而關閉，中國的電子樂逐漸轉向地下空間或臨時聚會的形式;",[],{},{"nodeType":147,"value":8241,"marks":9515,"data":9517},[9516],{"type":5869},{},{"nodeType":147,"value":9519,"marks":9520,"data":9521}," 這種轉變與全國性美術館觀眾數銳減、當代藝術家從都市中心遷往地方的趨勢並行。昔日被推崇的美術館舞池生態系如今似乎早已消逝。",[],{},{"nodeType":143,"data":9523,"content":9524},{},[9525,9529,9533],{"nodeType":147,"value":9526,"marks":9527,"data":9528},"中華未來主義的屍檢簡報: 一首由 Osheyack 創作的曲子，配上帶有末日氣息的影像——或許拍攝於長江口外海的風電場。這幾乎符合所有未來主義的特徵，卻在命名時已不再被稱作中華未來主義。上述場景出自李爽於 2022 年受 Miu Miu 委託、與 AMO 合作為巴黎 2023 春夏時裝秀打造的現場裝置。李爽以海底電纜製作成螺旋狀的長凳，綴以熒光綠環，構築出一座整體藝術式的水底伸展台。據報導，這個沉浸式空間「讓人想起過去與當下」，而我也相信，它能讓任何曾出入上海俱樂部的人瞬間回到 Tom Mouna 筆下的景象。不過，媒體報導僅以「復古未來主義」來概括這場充滿千禧年初校服風格的時裝秀。",[],{},{"nodeType":147,"value":8257,"marks":9530,"data":9532},[9531],{"type":5869},{},{"nodeType":147,"value":9534,"marks":9535,"data":9536}," 但這個名號已然死亡。",[],{},{"nodeType":5945,"data":9538,"content":9579},{"target":9539},{"metadata":9540,"sys":9543,"fields":9552},{"tags":9541,"concepts":9542},[],[],{"space":9544,"id":9546,"type":18,"createdAt":9547,"updatedAt":9547,"environment":9548,"publishedVersion":91,"revision":216,"contentType":9550,"locale":31},{"sys":9545},{"type":14,"linkType":15,"id":16},"6AUJkGB9yUmr7DKcYtl80B","2025-12-16T00:06:08.795Z",{"sys":9549},{"id":23,"type":14,"linkType":24},{"sys":9551},{"type":14,"linkType":29,"id":5961},{"name":9553,"images":9554,"visibility":5987,"galleryFormat":5988,"gallerySize":7569,"gridColumns":5866,"gridSpacing":5990,"scrollImageSize":5989,"imageOptions":9578},"Sonic Ghost image 8",[9555],{"metadata":9556,"sys":9559,"fields":9567},{"tags":9557,"concepts":9558},[],[],{"space":9560,"id":9562,"type":212,"createdAt":9563,"updatedAt":9564,"environment":9565,"publishedVersion":51,"revision":1123,"locale":31},{"sys":9561},{"type":14,"linkType":15,"id":16},"62mF4oFfS9BzxjA687xSrS","2025-12-15T22:02:56.099Z","2025-12-16T00:06:04.600Z",{"sys":9566},{"id":23,"type":14,"linkType":24},{"title":9568,"description":9569,"file":9570},"images-185","Hyph11E, Elevator, Shanghai",{"url":9571,"details":9572,"fileName":9577,"contentType":228},"\u002F\u002Fimages.ctfassets.net\u002F2urh0izv0sep\u002F62mF4oFfS9BzxjA687xSrS\u002Ff7c071cd373072a207a1127192a7c53f\u002Fimages-185.png",{"size":9573,"image":9574},1559988,{"width":9575,"height":9576},1503,980,"images-185.png",[4640],[],{"nodeType":143,"data":9581,"content":9582},{},[9583,9587,9591,9595,9599,9603,9607,9611,9615,9619,9623],{"nodeType":147,"value":9584,"marks":9585,"data":9586},"近期，上海的藝評人賴非借用北方獨立搖滾樂團的歌詞，形容中國藝術界在美術館熱潮崩解後，無數機構悄然停止運作，卻未正式宣告閉館的境況。",[],{},{"nodeType":147,"value":8273,"marks":9588,"data":9590},[9589],{"type":5869},{},{"nodeType":147,"value":9592,"marks":9593,"data":9594}," 耐人尋味的是，這一「美術館之死」( Museumssterben ) 正如中華未來主義的消逝，其消亡比從未存在更難以被承認。更奇怪的是，後疫情時期的西方科幻片再也不以中國城市作為未來的想像場景，除了 2023 年巴塞爾藝術展香港展會上的一場講座〈 中華未來主義之後會迎來甚麼? 〉，也沒有任何一篇文章明確宣告它的終結。然而，即便是對「之後會是甚麼」的追問，它本身似乎成了一種對終結的迴避——彷彿下一個版本的到來始終是理所當然的。於是，中華未來主義的消逝反而抗拒著被完全理解。有人可能會說，或許是因為其時間邏輯中內在的矛盾，人們才會遲疑於正視中華未來主義的幽靈論維度:因為幽靈論強調過去會在當下之中不斷持續現身，而中華未來主義總是在重塑過去以投射未來。我們可以從理論家費沙 ( Mark Fisher ) 最鍾愛的比喻——電子樂團 Kraftwerk ——來理解他所提出的幽靈論。他寫道 :「比起他們用科技來創造新的美學形式，當代的懷舊風音樂將科技淪為舊形式的再包裝工具，從而遮蔽了『未來維度的消失』這一現實。」",[],{},{"nodeType":147,"value":8289,"marks":9596,"data":9598},[9597],{"type":5869},{},{"nodeType":147,"value":9600,"marks":9601,"data":9602}," 乍看之下，幽靈論強調批評「 未來維度的消失 」看似是與中華未來主義背道而馳。然而，在更仔細的閱讀下，兩者在時間邏輯上卻殊途同歸——它們皆環繞著對變革性奇點 ( singularity ) 的追求: 一種脫離當下停滯泥沼的渴望，推動了對系統進行創造性破壞變革時刻的狂妄想像。對費沙而言，幽靈論中的這股渴望體現在對真正美學創造的憧憬——試圖從晚期資本主義束縛下的現行社會結構中，奪回那個永遠不會到達的未來。而在中華未來主義的論點中，他們對於「奇點」的追求可以透過向東方凝視的視角來實現，就像是 Tom Mouna 說的，全球 DJ 對於中國俱樂部場景的生態突變曾經如此趨之若鶩。如果考慮到費沙與 Kode9 早期在 CCRU 結識與合作的理論工作背景，你會發現幽靈論和中華未來主義有著共同的火花。",[],{},{"nodeType":147,"value":8298,"marks":9604,"data":9606},[9605],{"type":5869},{},{"nodeType":147,"value":9608,"marks":9609,"data":9610}," CCRU稱之為「超信」 ( hyperstition )，以創造新詞作理論實驗的工具。「超信」( hyperstition ) 這個詞結合了「 hyper 」( 超驗 ) 與「 superstition 」( 迷信)，指的是一種正向的反饋機制——當新的概念被不斷講述、傳播與相信時，它最終會在現實中生成自身。換句話說，思想可以透過敘事與信念的流通而成真。他們當時也是有意讓「 幽靈論 」與「 中華未來主義 」這兩個「超信」概念，在俱樂部與藝術圈之間高速流通，使理論在文化場域中自我實現。",[],{},{"nodeType":147,"value":8333,"marks":9612,"data":9614},[9613],{"type":5869},{},{"nodeType":147,"value":9616,"marks":9617,"data":9618}," 然而，這樣的「 超信 」機制本身並不是沒有收到批判。對此，我們可以關注李卡門訪談 Warmchains 的例子 :「自從深圳被市政府強加上『 高科技城市 』的身份之後，她便完全放棄了對未來主義的任何想像。」",[],{},{"nodeType":147,"value":8342,"marks":9620,"data":9622},[9621],{"type":5869},{},{"nodeType":147,"value":9624,"marks":9625,"data":9626}," 在這次的分享中，中華未來主義也是作為「 超信 」的實驗在被推行，只是它被重新引導到官僚控制的負反饋迴路中，從而背離了 CCRU 原先想像的創造性譫妄。",[],{},{"nodeType":143,"data":9628,"content":9629},{},[9630],{"nodeType":147,"value":9631,"marks":9632,"data":9633},"如今，隨著不再有人流通中華未來主義這一詞語，特別是連科幻片中都不再能見到中國作為未來目的地的身影，身處那個曾被想像為未來之地的上海，我感到一絲釋然 : 一部分的我終於脫離那個時光迴路，走出了以變革性奇點與新的可能性之衝動所構築的空中樓閣。我發現自己開始質疑人們對奇點追求的渴望——無論它披著幽靈論還是未來主義的外衣——這種衝動往往推遲了我們對不同時間敘事和多樣答案的探索。確實，唯有擺脫那些偽裝成出路的正回饋迴路，我們才真正面對過渡期的現實——一個舊世界正在消亡而新世界尚未誕生的空檔 ; 一個沒有逃脫幻象、沒有宏大理論的時刻——也許，對於中國的樂觀論調在將來某天或許仍會以另一種形態再現。但至少我們從這次的終結中明白 : 過去的文化經驗無法再提供現成的答案，未來的預言也不再從既有的歷史中浮現。",[],{},{"nodeType":143,"data":9635,"content":9636},{},[9637],{"nodeType":147,"value":219,"marks":9638,"data":9639},[],{},{"nodeType":6419,"data":9641,"content":9642},{},[],{"nodeType":143,"data":9644,"content":9645},{},[9646],{"nodeType":147,"value":219,"marks":9647,"data":9648},[],{},{"nodeType":6423,"data":9650,"content":9651},{},[9652,9656,9660,9664,9670],{"nodeType":147,"value":9653,"marks":9654,"data":9655},"1 與此類似的觀察參見: Chal Ravens, ‘The radical noise of Shanghai’s underground’, ",[],{},{"nodeType":147,"value":8436,"marks":9657,"data":9659},[9658],{"type":808},{},{"nodeType":147,"value":9661,"marks":9662,"data":9663},", November 26, 2019. ",[],{},{"nodeType":865,"data":9665,"content":9666},{"uri":8446},[9667],{"nodeType":147,"value":8446,"marks":9668,"data":9669},[],{},{"nodeType":147,"value":6213,"marks":9671,"data":9672},[],{},{"nodeType":143,"data":9674,"content":9675},{},[9676],{"nodeType":147,"value":219,"marks":9677,"data":9678},[],{},{"nodeType":6423,"data":9680,"content":9681},{},[9682,9686,9691,9695,9701],{"nodeType":147,"value":9683,"marks":9684,"data":9685},"2 Travis Jeppesen, ‘Public Record: Travis Jeppesen on Osheyack’s Intimate Publics’, ",[],{},{"nodeType":147,"value":9687,"marks":9688,"data":9690},"Artforum",[9689],{"type":808},{},{"nodeType":147,"value":9692,"marks":9693,"data":9694},", Summer 2022, vol. 60, no. 10. ",[],{},{"nodeType":865,"data":9696,"content":9697},{"uri":8469},[9698],{"nodeType":147,"value":8469,"marks":9699,"data":9700},[],{},{"nodeType":147,"value":6213,"marks":9702,"data":9703},[],{},{"nodeType":143,"data":9705,"content":9706},{},[9707],{"nodeType":147,"value":219,"marks":9708,"data":9709},[],{},{"nodeType":6423,"data":9711,"content":9712},{},[9713,9717,9721],{"nodeType":147,"value":9714,"marks":9715,"data":9716},"3 有趣的參考閱讀: Guglielmo Bottin, ‘EDM Theory and Fiction : The Conceptual Dimension of Musical Waves. A Conversation with Steve Goodman\u002FKode9’, ",[],{},{"nodeType":147,"value":8491,"marks":9718,"data":9720},[9719],{"type":808},{},{"nodeType":147,"value":8496,"marks":9722,"data":9723},[],{},{"nodeType":143,"data":9725,"content":9726},{},[9727],{"nodeType":147,"value":219,"marks":9728,"data":9729},[],{},{"nodeType":6423,"data":9731,"content":9732},{},[9733],{"nodeType":147,"value":9734,"marks":9735,"data":9736},"4 這句話出自李爽的舞池同伴李佳桓之口:「如果說，SVBKVLT的一位音樂人在這週五發佈了一首新歌，你很有可能一周後就能在柏林、倫敦甚至東京的俱樂部裡聽到。」見:李佳桓，〈今晚我要出門〉，《艾默格林與德拉塞特:拂曉》，柏林: Holzwarth 出版社。2023。",[],{},{"nodeType":143,"data":9738,"content":9739},{},[9740],{"nodeType":147,"value":219,"marks":9741,"data":9742},[],{},{"nodeType":6423,"data":9744,"content":9745},{},[9746,9750,9754],{"nodeType":147,"value":9747,"marks":9748,"data":9749},"5 Eshun的非洲未來主義堅持一種前瞻性的視角，抗拒懷舊。例如他並不將碎拍 (Breakbeat) 視為非洲鼓樂的回歸，而是一種在數字工具出現之前就在黑膠唱片上實現的「動作捕捉裝置」。這種創造性的時間邏輯，正如早期底特律電子樂調用歐洲合成器那樣，來自黑人離散群體對起源神話的重新詮釋。這裡的低科技、高概念，與中華未來主義及各種民族未來主義的形式形成鮮明對比。Kodwo Eshun, ‘Motion Capture’, ",[],{},{"nodeType":147,"value":8535,"marks":9751,"data":9753},[9752],{"type":808},{},{"nodeType":147,"value":9755,"marks":9756,"data":9757},", London: Quartet Books, 1998. 175–193. ",[],{},{"nodeType":143,"data":9759,"content":9760},{},[9761],{"nodeType":147,"value":219,"marks":9762,"data":9763},[],{},{"nodeType":6423,"data":9765,"content":9766},{},[9767,9771,9776],{"nodeType":147,"value":9768,"marks":9769,"data":9770},"6 Nick Land後來從2012年起參與新反動主義運動，將民主視為科技和社會進步的障礙。關於新反動主義隨著全球化的崛起，與其當時的知識分子網絡的分析，見: Yuk Hui, ‘On the Unhappy Consciousness of Neoreactionaries’, ",[],{},{"nodeType":147,"value":9772,"marks":9773,"data":9775},"e-flux journal",[9774],{"type":808},{},{"nodeType":147,"value":9777,"marks":9778,"data":9779},", no. 81 (April 2017).",[],{},{"nodeType":143,"data":9781,"content":9782},{},[9783],{"nodeType":147,"value":219,"marks":9784,"data":9785},[],{},{"nodeType":6423,"data":9787,"content":9788},{},[9789],{"nodeType":147,"value":9790,"marks":9791,"data":9792},"7 德勒茲與瓜塔里的戰爭機器探討國家與戰士之間的關係:國家發動戰爭，而戰士不必然隸屬於國家，而是外在於國家的遊牧者。戰爭機器作為隱喻，探討存在於國家控制之外的社會、政治或創作組織模式。 ",[],{},{"nodeType":143,"data":9794,"content":9795},{},[9796],{"nodeType":147,"value":219,"marks":9797,"data":9798},[],{},{"nodeType":6423,"data":9800,"content":9801},{},[9802,9806],{"nodeType":147,"value":9803,"marks":9804,"data":9805},"8 「聲波動覺」一詞用以描述超越文化界限、具身化且情感性的聲音體驗。普賴斯的案例包括將爵士、京劇與武術哲學融合的侯维翰 (Fred Ho)，以及將嘻哈與武術結合的團體武當幫 (Wu-Tang Clan)。見: Zachary F. Price, ",[],{},{"nodeType":147,"value":9807,"marks":9808,"data":9810},"Black Dragon: Afro-Asian Performance and the Martial Arts Imagination. ",[9809],{"type":808},{},{"nodeType":143,"data":9812,"content":9813},{},[9814],{"nodeType":147,"value":219,"marks":9815,"data":9816},[],{},{"nodeType":6423,"data":9818,"content":9819},{},[9820,9823,9827],{"nodeType":147,"value":8610,"marks":9821,"data":9822},[],{},{"nodeType":147,"value":8614,"marks":9824,"data":9826},[9825],{"type":808},{},{"nodeType":147,"value":9828,"marks":9829,"data":9830},", Urbanatomy, 2014. ",[],{},{"nodeType":143,"data":9832,"content":9833},{},[9834],{"nodeType":147,"value":219,"marks":9835,"data":9836},[],{},{"nodeType":6423,"data":9838,"content":9839},{},[9840,9844,9848],{"nodeType":147,"value":9841,"marks":9842,"data":9843},"10 有關當代藝術的案例，見: Gary Zhexi Zhang, ‘Sinofuturism and Its Uses: Contemporary Art and Diasporic Desire’, ",[],{},{"nodeType":147,"value":8636,"marks":9845,"data":9847},[9846],{"type":808},{},{"nodeType":147,"value":9849,"marks":9850,"data":9851},", Fall 2021, Vol. 7, No. 2, pp. 86- 92. ",[],{},{"nodeType":143,"data":9853,"content":9854},{},[9855],{"nodeType":147,"value":219,"marks":9856,"data":9857},[],{},{"nodeType":6423,"data":9859,"content":9860},{},[9861,9864,9868],{"nodeType":147,"value":8654,"marks":9862,"data":9863},[],{},{"nodeType":147,"value":8658,"marks":9865,"data":9867},[9866],{"type":808},{},{"nodeType":147,"value":9869,"marks":9870,"data":9871},", vol. 50, no. 2-3 (2020).",[],{},{"nodeType":143,"data":9873,"content":9874},{},[9875],{"nodeType":147,"value":219,"marks":9876,"data":9877},[],{},{"nodeType":6423,"data":9879,"content":9880},{},[9881,9885,9892],{"nodeType":147,"value":9882,"marks":9883,"data":9884},"12 Tom Mouna，〈美術館舞池生態系的中國漫步〉，《黑齒》雜誌，2020年12月24日。",[],{},{"nodeType":865,"data":9886,"content":9888},{"uri":9887},"https:\u002F\u002Fwww. heichimagazine.org\u002Fzh\u002Farticles\u002F345\u002Fjourneys-in-the-chinese-club-museum-ecosystem",[9889],{"nodeType":147,"value":9887,"marks":9890,"data":9891},[],{},{"nodeType":147,"value":6213,"marks":9893,"data":9894},[],{},{"nodeType":143,"data":9896,"content":9897},{},[9898],{"nodeType":147,"value":219,"marks":9899,"data":9900},[],{},{"nodeType":6423,"data":9902,"content":9903},{},[9904],{"nodeType":147,"value":9905,"marks":9906,"data":9907},"13 Tom Mouna，〈美術館舞池生態系的中國漫步〉。 ",[],{},{"nodeType":143,"data":9909,"content":9910},{},[9911],{"nodeType":147,"value":219,"marks":9912,"data":9913},[],{},{"nodeType":6423,"data":9915,"content":9916},{},[9917,9921,9925,9928,9934],{"nodeType":147,"value":9918,"marks":9919,"data":9920},"14 除了 Mouna，碧仙桃的樂手 Mun Sing 也評論到 :「上海最好的優點就是不用一直用四拍踢鼓。在歐洲，很多時候舞曲都是以 這個為基礎⸺純是電子樂，不跟隨就會被視為離經叛道」。見 : Chal Ravens, ‘The radical noise of Shanghai’s underground’, ",[],{},{"nodeType":147,"value":8436,"marks":9922,"data":9924},[9923],{"type":808},{},{"nodeType":147,"value":9661,"marks":9926,"data":9927},[],{},{"nodeType":865,"data":9929,"content":9930},{"uri":8446},[9931],{"nodeType":147,"value":8446,"marks":9932,"data":9933},[],{},{"nodeType":147,"value":6213,"marks":9935,"data":9936},[],{},{"nodeType":143,"data":9938,"content":9939},{},[9940],{"nodeType":147,"value":219,"marks":9941,"data":9942},[],{},{"nodeType":6423,"data":9944,"content":9945},{},[9946],{"nodeType":147,"value":9947,"marks":9948,"data":9949},"15 劉樹偉，〈泳洞〉，未出版，2022年7月。 ",[],{},{"nodeType":143,"data":9951,"content":9952},{},[9953],{"nodeType":147,"value":219,"marks":9954,"data":9955},[],{},{"nodeType":6423,"data":9957,"content":9958},{},[9959,9963,9968,9972,9978,9982,9986,9989,9995],{"nodeType":147,"value":9960,"marks":9961,"data":9962},"16 Bryan Grogan, ‘This Festival on the Beach is Redefining How to Experience Club Music in China’, ",[],{},{"nodeType":147,"value":9964,"marks":9965,"data":9967},"RADII",[9966],{"type":808},{},{"nodeType":147,"value":9969,"marks":9970,"data":9971},", 25 May 2021. ",[],{},{"nodeType":865,"data":9973,"content":9974},{"uri":8765},[9975],{"nodeType":147,"value":8765,"marks":9976,"data":9977},[],{},{"nodeType":147,"value":9979,"marks":9980,"data":9981},", The New Mike, ‘Does the Chinese Electronic Music Market Still Matter to the World?’, ",[],{},{"nodeType":147,"value":8788,"marks":9983,"data":9985},[9984],{"type":808},{},{"nodeType":147,"value":8793,"marks":9987,"data":9988},[],{},{"nodeType":865,"data":9990,"content":9991},{"uri":8798},[9992],{"nodeType":147,"value":8798,"marks":9993,"data":9994},[],{},{"nodeType":147,"value":219,"marks":9996,"data":9997},[],{},{"nodeType":143,"data":9999,"content":10000},{},[10001],{"nodeType":147,"value":219,"marks":10002,"data":10003},[],{},{"nodeType":6423,"data":10005,"content":10006},{},[10007,10010,10015,10018,10024],{"nodeType":147,"value":8816,"marks":10008,"data":10009},[],{},{"nodeType":147,"value":10011,"marks":10012,"data":10014},"WMagazine",[10013],{"type":808},{},{"nodeType":147,"value":8825,"marks":10016,"data":10017},[],{},{"nodeType":865,"data":10019,"content":10020},{"uri":8830},[10021],{"nodeType":147,"value":8830,"marks":10022,"data":10023},[],{},{"nodeType":147,"value":6213,"marks":10025,"data":10026},[],{},{"nodeType":143,"data":10028,"content":10029},{},[10030],{"nodeType":147,"value":219,"marks":10031,"data":10032},[],{},{"nodeType":6423,"data":10034,"content":10035},{},[10036],{"nodeType":147,"value":10037,"marks":10038,"data":10039},"18 賴非，〈直到大廈崩塌:中國民營美術館熱潮之後〉，《 Art Review 》中文版， 2025 年 7 月 3 日。 https:\u002F\u002Fmp.weixin.qq.com\u002Fs\u002Fiw8OQ6WDqUazYc6CoPzSsA ",[],{},{"nodeType":143,"data":10041,"content":10042},{},[10043],{"nodeType":147,"value":219,"marks":10044,"data":10045},[],{},{"nodeType":6423,"data":10047,"content":10048},{},[10049,10053,10058],{"nodeType":147,"value":10050,"marks":10051,"data":10052},"19 費沙的幽靈論概念描述當代文化狀態中，縈繞著未來維度的消失。透過分析體現過去幽靈痕跡的音樂、電影和文學，批判懷舊和文化停滯的現象。See: Mark Fisher, ",[],{},{"nodeType":147,"value":10054,"marks":10055,"data":10057},"Ghosts of My Life: Writings on Depression, Hauntology and Lost Futures",[10056],{"type":808},{},{"nodeType":147,"value":10059,"marks":10060,"data":10061}," (Win-chester: Zero Books, 2014).",[],{},{"nodeType":143,"data":10063,"content":10064},{},[10065],{"nodeType":147,"value":219,"marks":10066,"data":10067},[],{},{"nodeType":6423,"data":10069,"content":10070},{},[10071,10075,10080],{"nodeType":147,"value":10072,"marks":10073,"data":10074},"20 費沙本人也曾經從另一個角度將幽靈論與未來主義相提並論。參見: Mark Fisher, ‘The Metaphysics of Crackle: Afrofu- turism and Hauntology’, ",[],{},{"nodeType":147,"value":10076,"marks":10077,"data":10079},"Dancecult: Journal of Electronic Dance Music Culture",[10078],{"type":808},{},{"nodeType":147,"value":10081,"marks":10082,"data":10083}," 5(2): 42–55. (2013).",[],{},{"nodeType":143,"data":10085,"content":10086},{},[10087],{"nodeType":147,"value":219,"marks":10088,"data":10089},[],{},{"nodeType":6423,"data":10091,"content":10092},{},[10093,10097,10102],{"nodeType":147,"value":10094,"marks":10095,"data":10096},"21 即使是Kode9的廠牌名稱Hyperdub也借鑑了「超信」的概念，反映出理論與音樂互相塑造的願景。然而，最容易解釋的例子或 許要屬費沙的幽靈論本身。德里達最初提出這一術語指的是馬克思的幽靈如何縈繞晚期資本主義，費沙則將其延伸至流行文化。自 2005年他的個人博客k-punk開始提出這個詞彙以來，他的寫作不僅僅是解釋了新興音樂潮流，更放大了這種情緒感染藝術家、唱片 品牌和聽眾，從而形成正反饋循環。參見: Merlin Coverley, ",[],{},{"nodeType":147,"value":10098,"marks":10099,"data":10101},"Hauntology: Ghosts of Futures Past",[10100],{"type":808},{},{"nodeType":147,"value":10103,"marks":10104,"data":10105},", Oldcastle Books, 2020. 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Courtesy of the artist and Sadie Coles HQ\n\n陸明龍，《中華未來主義(1839–2046 AD)》，2016。展覽現場:《Ø》，倫敦Corsica Studios，2017。\n圖片致謝藝術家和Sadie Coles HQ",{"url":10141,"details":10142,"fileName":9018,"contentType":228},"\u002F\u002Fimages.ctfassets.net\u002F2urh0izv0sep\u002F2Znx5iP8K73sQp6aiWaQnu\u002F2de4345d4c7d699cf24b1b1d08e02da8\u002Fimages-180.png",{"size":9014,"image":10143},{"width":9016,"height":9017},{"metadata":10145,"sys":10148,"fields":10158},{"tags":10146,"concepts":10147},[],[],{"space":10149,"id":10151,"type":18,"createdAt":10152,"updatedAt":10153,"environment":10154,"publishedVersion":2418,"revision":26,"contentType":10156,"locale":31},{"sys":10150},{"type":14,"linkType":15,"id":16},"7tACJsm0chSNFWKJPUs27Q","2025-11-06T22:28:00.123Z","2026-01-16T09:30:14.565Z",{"sys":10155},{"id":23,"type":14,"linkType":24},{"sys":10157},{"type":14,"linkType":29,"id":3211},{"name":10159,"slug":10160,"issue":3215,"title":10159,"author":10161,"locationName":10162,"hero":10163,"sections":10224,"thumbnailImage":13237},"What Is Intelligence: Excerpts","what-is-intelligence-excerpts","Blaise Agüera y Arcas","Earth",{"metadata":10164,"sys":10167,"fields":10177},{"tags":10165,"concepts":10166},[],[],{"space":10168,"id":10170,"type":18,"createdAt":10171,"updatedAt":10172,"environment":10173,"publishedVersion":2418,"revision":26,"contentType":10175,"locale":31},{"sys":10169},{"type":14,"linkType":15,"id":16},"54RZHPFFQnUJiqKpTZ0oiH","2025-12-11T15:18:34.635Z","2025-12-11T15:19:41.680Z",{"sys":10174},{"id":23,"type":14,"linkType":24},{"sys":10176},{"type":14,"linkType":29,"id":3231},{"name":10178,"title":10179,"imageOption":3499,"imagesDisplay":10180,"imageRatio":5755,"image":10181,"imageSecond":10204},"What Is Intelligence hero","What Is Intelligence",[3545,3546,5754,5753],{"metadata":10182,"sys":10185,"fields":10193},{"tags":10183,"concepts":10184},[],[],{"space":10186,"id":10188,"type":212,"createdAt":10189,"updatedAt":10190,"environment":10191,"publishedVersion":51,"revision":1123,"locale":31},{"sys":10187},{"type":14,"linkType":15,"id":16},"5uxizWiOioyAldpmADLANF","2025-12-11T15:18:09.768Z","2025-12-11T15:18:29.995Z",{"sys":10192},{"id":23,"type":14,"linkType":24},{"title":10194,"description":10195,"file":10196},"images-095","Backscatter electron micrograph of 4.4-billion-year-old detrital zircons from the Hadean meta-sediments of the Jack Hills, Narryer Gneiss Terrane, Western Australia. 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These excerpts sketch his central claim: intelligence is predictive, and social – a network of minds, biological, cultural, and artificial. ",[10251],{"type":290},{},{"nodeType":5945,"data":10254,"content":10292},{"target":10255},{"metadata":10256,"sys":10259,"fields":10268},{"tags":10257,"concepts":10258},[],[],{"space":10260,"id":10262,"type":18,"createdAt":10263,"updatedAt":10263,"environment":10264,"publishedVersion":26,"revision":216,"contentType":10266,"locale":31},{"sys":10261},{"type":14,"linkType":15,"id":16},"4xLVlDAZ2CEwJ8PgCTejjN","2025-12-11T15:23:32.668Z",{"sys":10265},{"id":23,"type":14,"linkType":24},{"sys":10267},{"type":14,"linkType":29,"id":5961},{"name":10269,"visibility":5987,"images":10270,"galleryFormat":5988,"gallerySize":7569,"gridColumns":5866,"gridSpacing":5990,"scrollImageSize":5989},"What Is Intelligence book",[10271],{"metadata":10272,"sys":10275,"fields":10282},{"tags":10273,"concepts":10274},[],[],{"space":10276,"id":10278,"type":212,"createdAt":10279,"updatedAt":10279,"environment":10280,"publishedVersion":91,"revision":216,"locale":31},{"sys":10277},{"type":14,"linkType":15,"id":16},"7jvsDANAme9p44Qplb7fyk","2025-12-11T15:23:07.215Z",{"sys":10281},{"id":23,"type":14,"linkType":24},{"title":10283,"description":219,"file":10284},"images-096",{"url":10285,"details":10286,"fileName":10291,"contentType":228},"\u002F\u002Fimages.ctfassets.net\u002F2urh0izv0sep\u002F7jvsDANAme9p44Qplb7fyk\u002F6ea3d9d07314cfd7830213111289b6a0\u002Fimages-096.png",{"size":10287,"image":10288},1497991,{"width":10289,"height":10290},1625,1190,"images-096.png",[],{"nodeType":10294,"data":10295,"content":10296},"heading-4",{},[10297,10302,10307,10312,10320],{"nodeType":147,"value":10298,"marks":10299,"data":10301},"Agüera y Arcas, Blaise. ",[10300],{"type":290},{},{"nodeType":147,"value":10179,"marks":10303,"data":10306},[10304,10305],{"type":808},{"type":290},{},{"nodeType":147,"value":10308,"marks":10309,"data":10311},". San Francisco: Antikythera, 2025. ",[10310],{"type":290},{},{"nodeType":865,"data":10313,"content":10315},{"uri":10314},"https:\u002F\u002Fwhatisintelligence.antikythera.org",[10316],{"nodeType":147,"value":10314,"marks":10317,"data":10319},[10318],{"type":290},{},{"nodeType":147,"value":10321,"marks":10322,"data":10324},". Reproduced with the permission of the author (citation style retained from the original) ",[10323],{"type":290},{},{"nodeType":143,"data":10326,"content":10327},{},[10328],{"nodeType":147,"value":219,"marks":10329,"data":10330},[],{},{"nodeType":5812,"data":10332,"content":10333},{},[10334],{"nodeType":147,"value":10335,"marks":10336,"data":10338},"Preface",[10337],{"type":290},{},{"nodeType":143,"data":10340,"content":10341},{},[10342],{"nodeType":147,"value":10343,"marks":10344,"data":10346},"AI is probably the biggest story of our lifetimes. Its rapid development, starting in the early 2020s, has generated a mixed outpouring of excitement, anxiety, and denial.",[10345],{"type":290},{},{"nodeType":143,"data":10348,"content":10349},{},[10350],{"nodeType":147,"value":10351,"marks":10352,"data":10354},"Everyone wants to weigh in. Even authors writing about history, language, biology, sociology, economics, the arts, and psychology feel the need to add a chapter about AI to the end of their books. Indeed, AI will surely affect all of these far-flung domains, and many more – though exactly how, nobody can say with any confidence.",[10353],{"type":290},{},{"nodeType":143,"data":10356,"content":10357},{},[10358,10363,10368],{"nodeType":147,"value":10359,"marks":10360,"data":10362},"This book is a bit different. It’s less about the future of AI than it is about what we have learned in the present. At least as of this writing, in January 2025, few mainstream authors claim that AI is ‘real’ intelligence.",[10361],{"type":290},{},{"nodeType":147,"value":5866,"marks":10364,"data":10367},[10365,10366],{"type":290},{"type":5869},{},{"nodeType":147,"value":10369,"marks":10370,"data":10372}," I do. Gemini, Claude, and ChatGPT aren’t powered by the same machinery as the human brain, of course, but intelligence is ‘multiply realisable’, meaning that, just as a computer algorithm can run on any kind of computer, intelligence can ‘run’ on many physical substrates. In fact, although our brains are not like the kinds of digital computers we have today, I think the substrate for intelligence is computation, which implies that a sufficiently powerful general-purpose computer can, by definition, implement intelligence. All it takes is the right code. ",[10371],{"type":290},{},{"nodeType":143,"data":10374,"content":10375},{},[10376],{"nodeType":147,"value":10377,"marks":10378,"data":10380},"Thanks to recent conceptual breakthroughs in AI development, I believe we now know, at least at a high level, what that code does. We understand the essence of an incredibly powerful trick, although we’re still in the early days of making it work. Our implementations are neither complete, nor reliable, nor efficient – a bit like where we were with general computing when the ENIAC first powered up, in 1945, or where we were with aviation when the Wright brothers made their first powered flight, in 1903. ",[10379],{"type":290},{},{"nodeType":143,"data":10382,"content":10383},{},[10384,10389,10394],{"nodeType":147,"value":10385,"marks":10386,"data":10388},"It’s an old cliché in AI that airplanes and birds can both fly, but do so by different means.",[10387],{"type":290},{},{"nodeType":147,"value":6015,"marks":10390,"data":10393},[10391,10392],{"type":290},{"type":5869},{},{"nodeType":147,"value":10395,"marks":10396,"data":10398}," This truism has at times been used to motivate misguided approaches to AI. Still, the point stands. Bird flight is a biological marvel that in some respects remains poorly understood, even today. However, we figured out the basic physics of flight – not how animals fly, but how it’s possible for them to do so – in the eighteenth century, with the discovery of Bernoulli’s equation. Working airplanes took another century and a half to evolve. ",[10397],{"type":290},{},{"nodeType":143,"data":10400,"content":10401},{},[10402,10407,10412,10417,10422,10427,10432],{"nodeType":147,"value":10403,"marks":10404,"data":10406},"Similarly, while there is still a great deal about the brain that we don’t understand, the idea that prediction is the fundamental principle behind intelligence was first put forward by German polymath Hermann von Helmholtz in the 1860s.",[10405],{"type":290},{},{"nodeType":147,"value":6039,"marks":10408,"data":10411},[10409,10410],{"type":290},{"type":5869},{},{"nodeType":147,"value":10413,"marks":10414,"data":10416}," Many neuroscientists and AI researchers have elaborated on Helmholtz’s insight since then, and built models implementing aspects of the idea,",[10415],{"type":290},{},{"nodeType":147,"value":6183,"marks":10418,"data":10421},[10419,10420],{"type":290},{"type":5869},{},{"nodeType":147,"value":10423,"marks":10424,"data":10426}," but only recently has it become plausible to imagine that prediction really is the whole story. I will argue that, understood in full and interpreted broadly, the prediction principle may explain not only intelligence, but life itself.",[10425],{"type":290},{},{"nodeType":147,"value":6208,"marks":10428,"data":10431},[10429,10430],{"type":290},{"type":5869},{},{"nodeType":147,"value":6213,"marks":10433,"data":10435},[10434],{"type":290},{},{"nodeType":143,"data":10437,"content":10438},{},[10439],{"nodeType":147,"value":10440,"marks":10441,"data":10443},"My definitions of life and intelligence are different from others in the literature. On the other hand, definitions in the literature also differ dramatically from each other. The definitions I propose are not designed to litigate particular instances (like the aliveness of viruses, or the intelligence of chatbots) but rather follow from the picture I’ll present of how and why life and intelligence arise. ",[10442],{"type":290},{},{"nodeType":143,"data":10445,"content":10446},{},[10447],{"nodeType":147,"value":10448,"marks":10449,"data":10451},"I define life as a self-modifying, computational state of matter that arises through evolutionary selection for the ability to persist through time by actively constructing itself, whether by growing, healing, or reproducing. Yes, everything alive is a computer! Chapter 1 will explain why self-construction requires computation, and why, even more fundamentally, the concept of function or ‘purpose’, which is central to life, is inherently computational. ",[10450],{"type":290},{},{"nodeType":143,"data":10453,"content":10454},{},[10455],{"nodeType":147,"value":10456,"marks":10457,"data":10459},"Intelligence, in turn, is the ability to model, predict, and influence one’s future. Modelling and prediction are computational too, so they can only take place on a computational platform; thus intelligence needs life. Likewise, life needs intelligence, because the ability to persist through time depends on predicting and influencing the future – in particular, on ensuring that the entity doing the predicting will continue to exist in the future. Hence all living organisms are, to one degree or another, intelligent. Every one of them is smart enough to have persisted through time in a complex, ever-changing environment. ",[10458],{"type":290},{},{"nodeType":143,"data":10461,"content":10462},{},[10463],{"nodeType":147,"value":10464,"marks":10465,"data":10467},"That environment is each other: life and intelligence are inherently social. Every living thing is made of simpler cooperating parts, many of which are themselves alive. And every intelligence evolves in relation to other intelligences, potentially cooperating to create larger, collective intelligences. Cooperation requires modelling, predicting, and influencing the behaviour of the entities you’re cooperating with, so intelligence is both the glue that enables life to become complex and the outcome of that increasing complexity. ",[10466],{"type":290},{},{"nodeType":143,"data":10469,"content":10470},{},[10471],{"nodeType":147,"value":10472,"marks":10473,"data":10475},"The feedback loop evident here explains the ubiquity of ‘intelligence explosions’, past and present. These include, among many others, the sudden diversification of complex animal life during the ‘Cambrian explosion’ 538.8 million years ago, the rapid growth of hominin brains starting about four million years ago, the rise of urban civilisation in the past several thousand years, and the exponential curve of AI today. ",[10474],{"type":290},{},{"nodeType":143,"data":10477,"content":10478},{},[10479],{"nodeType":147,"value":10480,"marks":10481,"data":10483},"That predictive modelling is intelligence explains why recent large AI models really are intelligent; it’s not delusional or ‘anthropomorphic’ to say so. This doesn’t mean that AI models are necessarily human-like (or subhuman, or superhuman). In fact, understanding the curiously self-referential nature of prediction will let us see that intelligence is not really a ‘thing’. It can’t exist in isolation, either in the three pounds of neural tissue in our heads or in the racks of computer chips running large models in data centres. ",[10482],{"type":290},{},{"nodeType":143,"data":10485,"content":10486},{},[10487],{"nodeType":147,"value":10488,"marks":10489,"data":10491},"Intelligence is defined by networks, and by networks of networks. We can only understand what intelligence really is by changing how we think about it – by adopting a perspective that centres dynamic, mutually beneficial relationships rather than isolated minds. The same is true of life. ",[10490],{"type":290},{},{"nodeType":143,"data":10493,"content":10494},{},[10495],{"nodeType":147,"value":10496,"marks":10497,"data":10499},"Developing these ideas will require weaving together insights from many disciplines. As we go along, I’ll introduce concepts in probability, machine learning, physics, chemistry, biology, computer science, and other fields. When they’ve been most relevant to shaping our (sometimes mistaken) beliefs, I’ll also briefly review the intellectual histories of key ideas, from seventeenth-century ‘mechanical philosophy’ to debates about the origin of life, and from cybernetics to neuroscience. ",[10498],{"type":290},{},{"nodeType":143,"data":10501,"content":10502},{},[10503],{"nodeType":147,"value":10504,"marks":10505,"data":10507},"You, dear reader, may be an expert in one or more of these fields, or in none. Few people are expert in all of them (I’m certainly not), so no specialised prior knowledge is assumed. On the other hand, even if you’re an AI researcher or neuroscientist with little patience for pop science, I hope you will find new and surprising ideas in this book. A general grasp of mathematical concepts like functions and variables will be helpful (with bonus points for knowing about vectors and matrices), but there will be no equations. (Well ... almost none.) A general understanding of how computer programming works will be useful in a few places, but isn’t required. If you find fundamental questions about the nature of life and intelligence interesting enough to still be reading, rest assured: you are my audience. ",[10506],{"type":290},{},{"nodeType":143,"data":10509,"content":10510},{},[10511],{"nodeType":147,"value":10512,"marks":10513,"data":10516},"[excerpted from the Preface] ",[10514,10515],{"type":808},{"type":290},{},{"nodeType":5812,"data":10518,"content":10519},{},[10520],{"nodeType":147,"value":10521,"marks":10522,"data":10524},"Introduction ",[10523],{"type":290},{},{"nodeType":143,"data":10526,"content":10527},{},[10528,10533,10538],{"nodeType":147,"value":10529,"marks":10530,"data":10532},"The perspective I’ll offer is not easily reduced to a philosophical ‘-ism’. The footsteps I’m closest to following, though, are those of Alan Turing and his equally brilliant contemporary, John von Neumann, both of whom could be described as proponents of ‘functionalism’.",[10531],{"type":290},{},{"nodeType":147,"value":6240,"marks":10534,"data":10537},[10535,10536],{"type":290},{"type":5869},{},{"nodeType":147,"value":10539,"marks":10540,"data":10542}," They had a healthy disregard for disciplinary boundaries, and understood the inherently functional character of living and intelligent systems. They were also both formidable mathematicians who made major contributions to our understanding of what functions are. ",[10541],{"type":290},{},{"nodeType":5945,"data":10544,"content":10586},{"target":10545},{"metadata":10546,"sys":10549,"fields":10559},{"tags":10547,"concepts":10548},[],[],{"space":10550,"id":10552,"type":18,"createdAt":10553,"updatedAt":10554,"environment":10555,"publishedVersion":71,"revision":91,"contentType":10557,"locale":31},{"sys":10551},{"type":14,"linkType":15,"id":16},"7MRPJKIGwSO0oMU6NZaWvS","2025-12-15T21:24:18.354Z","2025-12-15T21:25:19.839Z",{"sys":10556},{"id":23,"type":14,"linkType":24},{"sys":10558},{"type":14,"linkType":29,"id":5961},{"name":10560,"visibility":5987,"images":10561,"galleryFormat":5988,"gallerySize":7569,"gridColumns":5866,"gridSpacing":5990,"scrollImageSize":5989,"imageOptions":10585},"What Is Intelligence: Excerpts image 2",[10562],{"metadata":10563,"sys":10566,"fields":10574},{"tags":10564,"concepts":10565},[],[],{"space":10567,"id":10569,"type":212,"createdAt":10570,"updatedAt":10571,"environment":10572,"publishedVersion":26,"revision":1123,"locale":31},{"sys":10568},{"type":14,"linkType":15,"id":16},"6mhETUVPdKAbDdm52H5CV6","2025-12-15T21:23:13.427Z","2026-01-15T10:20:25.117Z",{"sys":10573},{"id":23,"type":14,"linkType":24},{"title":10575,"description":10576,"file":10577},"images-097","Exhibition view, Codebreaker – _Alan Turing’s Life and Legacy_, London Science Museum. Photography: Ank Kumar; licensed under CC BY-SA 4.0",{"url":10578,"details":10579,"fileName":10584,"contentType":228},"\u002F\u002Fimages.ctfassets.net\u002F2urh0izv0sep\u002F6mhETUVPdKAbDdm52H5CV6\u002F8d35f33dbee4b0977a1c5d63276b3c34\u002Fimages-097.png",{"size":10580,"image":10581},898349,{"width":10582,"height":10583},860,975,"images-097.png",[4640],[],{"nodeType":143,"data":10588,"content":10589},{},[10590,10595],{"nodeType":147,"value":10591,"marks":10592,"data":10594},"Functions define relationships, rather than insisting on particular mechanisms. A function is what it does. Two functions are equivalent if their outputs are indistinguishable, given the same inputs. Complex functions can be composed of simpler functions.",[10593],{"type":290},{},{"nodeType":147,"value":10596,"marks":10597,"data":10600},"7 ",[10598,10599],{"type":290},{"type":5869},{},{"nodeType":143,"data":10602,"content":10603},{},[10604,10609,10614],{"nodeType":147,"value":10605,"marks":10606,"data":10608},"The functional perspective is mathematical, computational, and empirically testable – hence, the Turing Test.",[10607],{"type":290},{},{"nodeType":147,"value":6315,"marks":10610,"data":10613},[10611,10612],{"type":290},{"type":5869},{},{"nodeType":147,"value":10615,"marks":10616,"data":10618}," It’s not ‘reductive’. It embraces complexity and emergent phenomena. It doesn’t treat people like ‘black boxes’, nor does it deny our internal representations of the world or our felt experiences. But it stipulates that we can understand those experiences in terms of functional relationships within the brain and body – we don’t need to invoke a soul, spirit, or any other supernatural agency. Computational neuroscience and AI, fields Turing and von Neumann pioneered, are both predicated on this functional approach. ",[10617],{"type":290},{},{"nodeType":143,"data":10620,"content":10621},{},[10622],{"nodeType":147,"value":10623,"marks":10624,"data":10626},"It’s unsurprising, in this light, that Turing and von Neumann also made groundbreaking contributions to theoretical biology, although these are less widely recognised today. Like intelligence, life and aliveness are concepts that have long been associated with immaterial souls. Unfortunately, the Enlightenment backlash against such ‘vitalism’, in the wake of our growing understanding of organic chemistry, led to an extreme opposite view, still prevalent today: that life is just matter, like any other. One might call this ‘strict materialism’. But it leads to its own paradoxes: how can some atoms be ‘alive’, and others not? How can one talk about living matter having ‘purpose’, when it is governed by the same physical laws as any other matter? ",[10625],{"type":290},{},{"nodeType":143,"data":10628,"content":10629},{},[10630],{"nodeType":147,"value":10631,"marks":10632,"data":10634},"Thinking about life from a functional perspective offers a helpful route through this philosophical thicket. Functions can be implemented by physical systems, but a physical system does not uniquely specify a function, nor is function reducible to the atoms implementing it. ",[10633],{"type":290},{},{"nodeType":143,"data":10636,"content":10637},{},[10638],{"nodeType":147,"value":10639,"marks":10640,"data":10642},"Consider, for example, a small object from the near future with a few openings in its exterior, the inside of which is filled with a dense network of carbon nanotubes. What is it, you ask? Suppose the answer is: it’s a fully biocompatible artificial kidney with a working lifetime of a hundred years. (Awesome!) But there’s nothing intrinsic to those atoms that specifies this function. It’s all about what this piece of matter can do, in the right context. The atoms could be different. The kidney could be implemented using different materials and technologies. Who cares? If you were the one who needed the transplant, I promise: you wouldn’t care. What would matter to you is that functionally, it’s a kidney. Or, to put it another way, it passes the Kidney Turing Test. ",[10641],{"type":290},{},{"nodeType":143,"data":10644,"content":10645},{},[10646],{"nodeType":147,"value":10647,"marks":10648,"data":10650},"Many biologists are mortally afraid of invoking ‘purpose’ or ‘teleology’, because they do not want to be accused of vitalism. Many believe that, for something to have a purpose, it must have been made by an intelligent creator – if not a human being, then God. But as we shall see, that’s demonstrably not the case. ",[10649],{"type":290},{},{"nodeType":143,"data":10652,"content":10653},{},[10654],{"nodeType":147,"value":10655,"marks":10656,"data":10658},"And we have to think about purpose and function when it comes to biology, or engineering, or AI. How else could we understand what kidneys do? Or hope to engineer an artificial kidney? Or a heart, a retina, a visual cortex, even a whole brain? Seen this way, a living organism is a composition of functions. Which means that it is, itself, a function! ",[10657],{"type":290},{},{"nodeType":143,"data":10660,"content":10661},{},[10662],{"nodeType":147,"value":10663,"marks":10664,"data":10666},"What is that function, then, and how could it have arisen? Let’s find out. ",[10665],{"type":290},{},{"nodeType":143,"data":10668,"content":10669},{},[10670],{"nodeType":147,"value":10671,"marks":10672,"data":10675},"[excerpted from the Introduction] ",[10673,10674],{"type":808},{"type":290},{},{"nodeType":5945,"data":10677,"content":10718},{"target":10678},{"metadata":10679,"sys":10682,"fields":10692},{"tags":10680,"concepts":10681},[],[],{"space":10683,"id":10685,"type":18,"createdAt":10686,"updatedAt":10687,"environment":10688,"publishedVersion":1078,"revision":1123,"contentType":10690,"locale":31},{"sys":10684},{"type":14,"linkType":15,"id":16},"4oCmquweKarFiGHC0nzqVM","2025-12-15T21:25:04.871Z","2025-12-15T21:25:09.920Z",{"sys":10689},{"id":23,"type":14,"linkType":24},{"sys":10691},{"type":14,"linkType":29,"id":5961},{"name":10693,"visibility":5987,"images":10694,"galleryFormat":5988,"gallerySize":7569,"gridColumns":5866,"gridSpacing":5990,"scrollImageSize":5989,"imageOptions":10717},"What Is Intelligence: Excerpts image 3",[10695],{"metadata":10696,"sys":10699,"fields":10706},{"tags":10697,"concepts":10698},[],[],{"space":10700,"id":10702,"type":212,"createdAt":10703,"updatedAt":10703,"environment":10704,"publishedVersion":91,"revision":216,"locale":31},{"sys":10701},{"type":14,"linkType":15,"id":16},"6o0aRmGU8zKhkME3aKC7fU","2025-12-15T21:23:26.617Z",{"sys":10705},{"id":23,"type":14,"linkType":24},{"title":10707,"description":10708,"file":10709},"images-098","Hafted spear point from the mid-Holocene Arctic Small Tool site of Qeqertasussuk, West Greenland. Credit: Drawing by Eva Koch; reproduced with permission of Bjarne Grønnow. Courtesy of Practise",{"url":10710,"details":10711,"fileName":10716,"contentType":228},"\u002F\u002Fimages.ctfassets.net\u002F2urh0izv0sep\u002F6o0aRmGU8zKhkME3aKC7fU\u002Fca79678644cc98db2e79ea71446d2afb\u002Fimages-098.png",{"size":10712,"image":10713},191197,{"width":10714,"height":10715},3218,2630,"images-098.png",[4640],[],{"nodeType":5812,"data":10720,"content":10721},{},[10722],{"nodeType":147,"value":10723,"marks":10724,"data":10726},"Daisy World ",[10725],{"type":290},{},{"nodeType":143,"data":10728,"content":10729},{},[10730,10735],{"nodeType":147,"value":10731,"marks":10732,"data":10734},"All definitions of life are controversial, most seem to require caveats or exceptions, and none has advanced our understanding of biology. Frustrated with this state of affairs, biochemist Andrew Ellington has gone so far as to assert that ‘there is no such thing as life. Life is not a meaningful scientific term. It is a term for poets, not scientists.’",[10733],{"type":290},{},{"nodeType":147,"value":10736,"marks":10737,"data":10740},"9 ",[10738,10739],{"type":290},{"type":5869},{},{"nodeType":143,"data":10742,"content":10743},{},[10744,10749,10754],{"nodeType":147,"value":10745,"marks":10746,"data":10748},"Ellington’s position may sound extreme, but it’s more defensible than the dogmatic definition in many biology textbooks: that living organisms have ‘the ability to eat, metabolise, excrete, breathe, move, grow, reproduce, and be responsive to external stimuli.’",[10747],{"type":290},{},{"nodeType":147,"value":6354,"marks":10750,"data":10753},[10751,10752],{"type":290},{"type":5869},{},{"nodeType":147,"value":10755,"marks":10756,"data":10758}," By this definition, viruses aren’t alive, which might seem reasonable. But neither are mules or worker bees, since they are sterile! ",[10757],{"type":290},{},{"nodeType":143,"data":10760,"content":10761},{},[10762,10767,10772],{"nodeType":147,"value":10763,"marks":10764,"data":10766},"Or consider a leaner definition popular among astrobiologists: ‘life is a self-sustaining chemical system capable of Darwinian evolution.’",[10765],{"type":290},{},{"nodeType":147,"value":6363,"marks":10768,"data":10771},[10769,10770],{"type":290},{"type":5869},{},{"nodeType":147,"value":10773,"marks":10774,"data":10776}," Better, but by this definition, parasites are not alive, since they aren’t self-sustaining. Then again, is any life form truly self-sustaining? (Not if it eats.) How can a ‘self ’ be meaningfully circumscribed? And while life on Earth is based on chemistry, should we really insist on this as a requirement? Functionalism would argue otherwise. ",[10775],{"type":290},{},{"nodeType":143,"data":10778,"content":10779},{},[10780,10785,10791,10796,10800,10806,10811],{"nodeType":147,"value":10781,"marks":10782,"data":10784},"So, here’s my own attempt: \n",[10783],{"type":290},{},{"nodeType":147,"value":10786,"marks":10787,"data":10790},"Life is self-modifying computronium",[10788,10789],{"type":808},{"type":290},{},{"nodeType":147,"value":8037,"marks":10792,"data":10795},[10793,10794],{"type":290},{"type":5869},{},{"nodeType":147,"value":6213,"marks":10797,"data":10799},[10798],{"type":290},{},{"nodeType":147,"value":10801,"marks":10802,"data":10805},"arising from selection for dynamic stability",[10803,10804],{"type":808},{"type":290},{},{"nodeType":147,"value":8053,"marks":10807,"data":10810},[10808,10809],{"type":290},{"type":5869},{},{"nodeType":147,"value":10812,"marks":10813,"data":10816},"; it evolves through the symbiotic composition of simpler dynamically stable entities. ",[10814,10815],{"type":808},{"type":290},{},{"nodeType":143,"data":10818,"content":10819},{},[10820],{"nodeType":147,"value":10821,"marks":10822,"data":10824},"Notice that my definition doesn’t stipulate any specific function. However, in defining life computationally, it is functional. And in a world where the Second Law [of Thermodynamics] holds, dynamic stability implies that those functions must include some combination of self-construction, self-repair, or reproduction. All of these are computations that require code to be able to read and write code, hence the ‘self-modifying’ qualifier.",[10823],{"type":290},{},{"nodeType":143,"data":10826,"content":10827},{},[10828],{"nodeType":147,"value":10829,"marks":10830,"data":10833},"[excerpted from 'Daisy World', Chapter 1] ",[10831,10832],{"type":808},{"type":290},{},{"nodeType":8159,"data":10835,"content":10836},{},[10837],{"nodeType":143,"data":10838,"content":10839},{},[10840],{"nodeType":147,"value":10841,"marks":10842,"data":10844},"After defining life as ‘self-modifying computronium’, Agüera y Arcas shows that any substrate capable of computation can sustain life. Because dynamic stability demands distinct interacting parts, life is necessarily ‘lumpy’, forming nested selves from cells to ecosystems and planets. Furthermore, he argues that Earth, too, is a self-regulating system – alive in a homeostatic, non-conscious sense. Extending this to technology, he sees human–machine networks as a new evolutionary layer of life’s computation. The boundary between natural and artificial thus collapses: all living and evolving systems are computational expressions of dynamic stability. ",[10843],{"type":290},{},{"nodeType":5812,"data":10846,"content":10847},{},[10848],{"nodeType":147,"value":10849,"marks":10850,"data":10852},"Élan Vital ",[10851],{"type":290},{},{"nodeType":143,"data":10854,"content":10855},{},[10856,10861,10867,10872,10877,10882,10887],{"nodeType":147,"value":10857,"marks":10858,"data":10860},"If life is computational, then are human-engineered (that is, ‘artificial’) computers ",[10859],{"type":290},{},{"nodeType":147,"value":10862,"marks":10863,"data":10866},"alive",[10864,10865],{"type":808},{"type":290},{},{"nodeType":147,"value":10868,"marks":10869,"data":10871},"? They are certainly purposive, or we couldn’t talk about them being broken or buggy. But hardware and software are, in general, unable to reproduce, grow, heal, or evolve on their own, because engineers learned long ago that self-modifying code (like bff,",[10870],{"type":290},{},{"nodeType":147,"value":8102,"marks":10873,"data":10876},[10874,10875],{"type":290},{"type":5869},{},{"nodeType":147,"value":10878,"marks":10879,"data":10881}," or DNA) is hard to understand and debug.",[10880],{"type":290},{},{"nodeType":147,"value":8170,"marks":10883,"data":10886},[10884,10885],{"type":290},{"type":5869},{},{"nodeType":147,"value":10888,"marks":10889,"data":10891}," Thus, phones don’t make baby phones, or (alas) heal from their frequent injuries. Apps don’t write new versions of themselves. ",[10890],{"type":290},{},{"nodeType":143,"data":10893,"content":10894},{},[10895,10900,10905,10910,10916,10921,10926],{"nodeType":147,"value":10896,"marks":10897,"data":10899},"And yet: there are more phones in the world this year than last year, and their cracked screens ",[10898],{"type":290},{},{"nodeType":147,"value":4253,"marks":10901,"data":10904},[10902,10903],{"type":808},{"type":290},{},{"nodeType":147,"value":10906,"marks":10907,"data":10909},"often get repaired; apps acquire new features, become obsolete, and eventually reach end-of-life, replaced by new ones; and AI models improve from month to month. Electronic components and computer code also exhibit the same kind of compositionality we’ve seen in bff and DNA. It certainly ",[10908],{"type":290},{},{"nodeType":147,"value":10911,"marks":10912,"data":10915},"looks ",[10913,10914],{"type":808},{"type":290},{},{"nodeType":147,"value":10917,"marks":10918,"data":10920},"as if technology is reproducing and evolving!",[10919],{"type":290},{},{"nodeType":147,"value":8241,"marks":10922,"data":10925},[10923,10924],{"type":290},{"type":5869},{},{"nodeType":147,"value":10927,"marks":10928,"data":10930}," Debating its aliveness is thus a bit like the debate over whether viruses or parasites are alive. ",[10929],{"type":290},{},{"nodeType":143,"data":10932,"content":10933},{},[10934,10939,10944],{"nodeType":147,"value":10935,"marks":10936,"data":10938},"If we zoom back out, putting technology and humans in the frame together, we can see that this larger, symbiotic ‘us’ is certainly reproducing, growing, and evolving.",[10937],{"type":290},{},{"nodeType":147,"value":8257,"marks":10940,"data":10943},[10941,10942],{"type":290},{"type":5869},{},{"nodeType":147,"value":10945,"marks":10946,"data":10948}," The emergence of technology, and the mutually beneficial – if sometimes fraught – relationship between people and tech is nothing more or less than our own most recent major evolutionary transition. Technology, then, is not distinct from nature or biology, but merely its most recent evolutionary development. ",[10947],{"type":290},{},{"nodeType":143,"data":10950,"content":10951},{},[10952],{"nodeType":147,"value":10953,"marks":10954,"data":10956},"And what about that age-old inanimate stuff – rocks and rivers, mountains and beaches, clouds and storms? Water molecules in themselves are clearly not capable of general computation. Yet in the context of the hydrologic cycle, clouds, rainstorms, and rivers certainly serve critical ecological functions, and are profoundly shaped by life. Likewise, our planet’s metal and sand are shaped into steam engines and computer chips, just as calcium we ingest turns into bones and ionic currents. All of these materials and structures comprise parts of a grand network of Gaian interdependency. Why do we draw boundaries around certain networks of functions and insist that they are ‘alive’, while asserting the surrounding functions are not? ",[10955],{"type":290},{},{"nodeType":143,"data":10958,"content":10959},{},[10960],{"nodeType":147,"value":10961,"marks":10962,"data":10964},"This way lies vitalism, a view espoused in various forms by a long line of philosophers from Posidonius of Apameia (circa 135–51 BCE, and undoubtedly reflecting a much older tradition) to Henri Bergson (1859–1941). Some modern thinkers, too, defend the vitalist position, such as Jane Bennett: ",[10963],{"type":290},{},{"nodeType":143,"data":10966,"content":10967},{},[10968,10974],{"nodeType":147,"value":10969,"marks":10970,"data":10973},"The quarantines of matter and life encourage us to ignore the vitality of matter and the lively powers of material formations [...]. By vitality I mean the capacity of things – edibles, commodities, storms, metals – not only to impede or block the will and designs of humans but also to act as quasi agents or forces with trajectories [...] or tendencies of their own. [... Our] analyses of political events might change if we gave the force of things more due.",[10971,10972],{"type":808},{"type":290},{},{"nodeType":147,"value":10975,"marks":10976,"data":10979},"18 ",[10977,10978],{"type":290},{"type":5869},{},{"nodeType":143,"data":10981,"content":10982},{},[10983,10988,10993],{"nodeType":147,"value":10984,"marks":10985,"data":10987},"We resist such ideas because we tend to reserve the notion of agency only for ourselves. The idea of agency in a molecule or a storm, let alone an abstraction like money, seems especially far-fetched. We also tend to think in terms of a hierarchy in which ‘we’ (for whatever value of ‘we’) are at the top, and agency must surely diminish for anything ‘lower’ – a view reminiscent of the medieval Great Chain of Being.",[10986],{"type":290},{},{"nodeType":147,"value":8289,"marks":10989,"data":10992},[10990,10991],{"type":290},{"type":5869},{},{"nodeType":147,"value":10994,"marks":10995,"data":10997}," When we (hesitantly) extend ‘agency’ to the nonhuman, we tend to do so only for things that act obviously, individually, and on fast timescales, rather than in the aggregate and on slower, more evolutionary ones. It might be time to re-examine these ideas more holistically. ",[10996],{"type":290},{},{"nodeType":143,"data":10999,"content":11000},{},[11001,11006,11011],{"nodeType":147,"value":11002,"marks":11003,"data":11005},"My purpose here is not to follow in Bennett’s footsteps – though I do find her project worth taking seriously. Language is, necessarily, imprecise, no matter what definitions we pick.",[11004],{"type":290},{},{"nodeType":147,"value":8298,"marks":11007,"data":11010},[11008,11009],{"type":290},{"type":5869},{},{"nodeType":147,"value":11012,"marks":11013,"data":11015}," This doesn’t mean that words are useless, though. When our language can become more rigorous and scientifically grounded, and when we use it to describe consistent patterns uniting a wide range of observations, we can start to see through ideological thickets. ",[11014],{"type":290},{},{"nodeType":143,"data":11017,"content":11018},{},[11019],{"nodeType":147,"value":11020,"marks":11021,"data":11023},"I hope I have explained both clearly and rigorously how the phenomena that give rise to the complexifying dynamics of life apply much more broadly than to the entities we normally think of as ‘alive’ or ‘agential’. Accordingly, we could expand our definitions of these existing words, or adopt new ones, or do a bit of each. Personally, I would find some broadening of the old everyday words helpful. ",[11022],{"type":290},{},{"nodeType":143,"data":11025,"content":11026},{},[11027],{"nodeType":147,"value":11028,"marks":11029,"data":11031},"That would hardly break new ground. Many traditional, nominally ‘prescientific’ worldviews embrace notions of aliveness, agency, and even personhood that are far broader than the modern Western ones. This seems a likely case of convergent evolution in languages and ideas, motivated by the common need among traditional societies to take symbiosis seriously to secure their own survival, and to flourish. ",[11030],{"type":290},{},{"nodeType":143,"data":11033,"content":11034},{},[11035],{"nodeType":147,"value":11036,"marks":11037,"data":11039},"Taking a broader view is practical as much as it is spiritual: encouraging richer modelling of agency in ‘nature’ enhances a society’s dynamic stability, since all things in ‘nature’, ourselves included, are so mutually interdependent. ",[11038],{"type":290},{},{"nodeType":143,"data":11041,"content":11042},{},[11043,11048,11054,11058],{"nodeType":147,"value":11044,"marks":11045,"data":11047},"Thus it can be useful to take the view of an animal, plant, or river at times, even if they can’t take ours, the better to care for them – and for ourselves. The same goes for the Earth as a whole. That, ultimately, is the best reason to consider adopting, or at least adapting, a more inclusive view of the animate. Potawatomi writer and biologist Robin Wall Kimmerer makes this case eloquently in her book ",[11046],{"type":290},{},{"nodeType":147,"value":11049,"marks":11050,"data":11053},"Braiding Sweetgrass",[11051,11052],{"type":808},{"type":290},{},{"nodeType":147,"value":822,"marks":11055,"data":11057},[11056],{"type":290},{},{"nodeType":147,"value":11059,"marks":11060,"data":11063},"21 ",[11061,11062],{"type":290},{"type":5869},{},{"nodeType":143,"data":11065,"content":11066},{},[11067],{"nodeType":147,"value":11068,"marks":11069,"data":11071},"In agreeing with Kimmerer, I am not encouraging superstition. When scientists castigate animist beliefs as superstitious, they typically appeal to the materialist discoveries of the Enlightenment, which show that the atoms that make up our bodies are no different from the atoms that make up rocks or air. This is true. Atoms are atoms; they all obey the same rules. Hence, the Enlightenment model of a clockwork universe, governed by dynamical laws. ",[11070],{"type":290},{},{"nodeType":143,"data":11073,"content":11074},{},[11075],{"nodeType":147,"value":11076,"marks":11077,"data":11079},"Yet as Schrödinger pointed out in 1944, our understanding of these laws – which he played such a central role in developing – remains incomplete. The laws as they stand do not account for the computationally complex, dynamically stable, symbiotic phenomena that comprise so much of our experience on Earth – indeed, without which there would be no such thing as experience at all. There would be no life, or purpose, or minds, or agency. ",[11078],{"type":290},{},{"nodeType":143,"data":11081,"content":11082},{},[11083,11088,11093,11098,11103,11108,11114],{"nodeType":147,"value":11084,"marks":11085,"data":11087},"As we both embrace scientific rigor ",[11086],{"type":290},{},{"nodeType":147,"value":7461,"marks":11089,"data":11092},[11090,11091],{"type":808},{"type":290},{},{"nodeType":147,"value":11094,"marks":11095,"data":11097},"start to figure out those ‘other laws of physics’ hitherto unknown’,",[11096],{"type":290},{},{"nodeType":147,"value":8342,"marks":11099,"data":11102},[11100,11101],{"type":290},{"type":5869},{},{"nodeType":147,"value":11104,"marks":11105,"data":11107}," we should perhaps be less surprised to find the shoe on the other foot. What the poet Dylan Thomas called ‘the force that through the green fuse drives the flower’",[11106],{"type":290},{},{"nodeType":147,"value":11109,"marks":11110,"data":11113},"23",[11111,11112],{"type":290},{"type":5869},{},{"nodeType":147,"value":11115,"marks":11116,"data":11118}," drives all atoms, not just the ones we presume to be alive. ",[11117],{"type":290},{},{"nodeType":143,"data":11120,"content":11121},{},[11122],{"nodeType":147,"value":11123,"marks":11124,"data":11127},"[from Chapter 1] ",[11125,11126],{"type":808},{"type":290},{},{"nodeType":5812,"data":11129,"content":11130},{},[11131],{"nodeType":147,"value":11132,"marks":11133,"data":11135},"Killer App ",[11134],{"type":290},{},{"nodeType":143,"data":11137,"content":11138},{},[11139,11144,11150,11155,11161],{"nodeType":147,"value":11140,"marks":11141,"data":11143},"Babbage struggled to drum up financial backing for his Analytical Engine.",[11142],{"type":290},{},{"nodeType":147,"value":11145,"marks":11146,"data":11149},"24",[11147,11148],{"type":290},{"type":5869},{},{"nodeType":147,"value":11151,"marks":11152,"data":11154}," The market for Jacquard-woven textiles was obvious, but who needed industrially mass-produced ‘analytical formulæ’? To sell the idea of mathematical tables as a popular commodity, he resorted to folksy examples, such as ‘the amount of any number of pounds from 1 to 100 lbs. of butchers’ meat at various prices per lb.’",[11153],{"type":290},{},{"nodeType":147,"value":11156,"marks":11157,"data":11160},"25",[11158,11159],{"type":290},{"type":5869},{},{"nodeType":147,"value":6213,"marks":11162,"data":11164},[11163],{"type":290},{},{"nodeType":143,"data":11166,"content":11167},{},[11168],{"nodeType":147,"value":11169,"marks":11170,"data":11172},"Price tables for the village butcher? Hardly. A moment’s reflection will make it clear that small tradesmen wouldn’t have been a viable customer base for a hulking industrial machine like the Analytical Engine. ",[11171],{"type":290},{},{"nodeType":143,"data":11174,"content":11175},{},[11176,11181,11187],{"nodeType":147,"value":11177,"marks":11178,"data":11180},"State administration, which Prony had bet on, was closer to the mark; the information needs of bureaucratic governments were on the rise.",[11179],{"type":290},{},{"nodeType":147,"value":11182,"marks":11183,"data":11186},"26",[11184,11185],{"type":290},{"type":5869},{},{"nodeType":147,"value":11188,"marks":11189,"data":11191}," Still, it was too early. The French government defunded Prony’s project long before it was complete. ",[11190],{"type":290},{},{"nodeType":143,"data":11193,"content":11194},{},[11195],{"nodeType":147,"value":11196,"marks":11197,"data":11199},"The real killer app was warfare. The British Army and Navy would have been Babbage’s obvious backers, and ultimately it was their lack of investment that doomed his enterprise. ",[11198],{"type":290},{},{"nodeType":143,"data":11201,"content":11202},{},[11203],{"nodeType":147,"value":11204,"marks":11205,"data":11207},"The artillery table was already a paradigmatic product of human computation by the turn of the nineteenth century. A new table was needed for every big gun, including corrections for factors like altitude, wind, and barometric pressure. With every major world conflict from the Napoleonic Wars (1803–1815) onward, gunnery became increasingly important, and, with it, tabulation. And doing the calculations by hand took a long time. ",[11206],{"type":290},{},{"nodeType":143,"data":11209,"content":11210},{},[11211],{"nodeType":147,"value":11212,"marks":11213,"data":11215},"By World War I, the first fully industrialised large-scale conflict, both the Allies and the Central Powers were making extensive use of complex tables. Artillery fire was often planned days in advance, and its accuracy became crucial for supporting infantry advances. Computation had become a bottleneck in warfare, and, more than any other single factor, this was what finally motivated serious investment in automatic computing between the World Wars. ",[11214],{"type":290},{},{"nodeType":143,"data":11217,"content":11218},{},[11219,11224,11230,11235],{"nodeType":147,"value":11220,"marks":11221,"data":11223},"As weapons production for World War II began ramping up, the University of Pennsylvania’s Moore School of Electrical Engineering hired at least two hundred women to work on artillery tables. Their methods would have been largely familiar to Babbage or Prony. But, spurred by the war effort, technology was advancing at breakneck speed. Six of the Moore School’s women were selected to become the programmers of the ENIAC.",[11222],{"type":290},{},{"nodeType":147,"value":11225,"marks":11226,"data":11229},"27",[11227,11228],{"type":290},{"type":5869},{},{"nodeType":147,"value":11231,"marks":11232,"data":11234}," This first fully general, programmable computer had been designed to automate artillery tabulation.",[11233],{"type":290},{},{"nodeType":147,"value":11236,"marks":11237,"data":11240},"28 ",[11238,11239],{"type":290},{"type":5869},{},{"nodeType":143,"data":11242,"content":11243},{},[11244,11249,11255,11260],{"nodeType":147,"value":11245,"marks":11246,"data":11248},"By the time the ENIAC became operational, in December 1945, priorities had changed. The Germans and the Japanese had been defeated, but Cold War brinkmanship picked up right where World War II had left off. The new computer’s first substantial program was a simulation of the ‘Super Problem’, exploring the feasibility of a hydrogen bomb.",[11247],{"type":290},{},{"nodeType":147,"value":11250,"marks":11251,"data":11254},"29",[11252,11253],{"type":290},{"type":5869},{},{"nodeType":147,"value":11256,"marks":11257,"data":11259}," The math required was a lot harder than calculating ballistic trajectories, and the machine’s thousands of vacuum tubes burned out frequently, requiring near-daily repair. This incentivised rapid improvements in the hardware, kickstarting what would later be known as Moore’s Law.",[11258],{"type":290},{},{"nodeType":147,"value":11261,"marks":11262,"data":11265},"30 ",[11263,11264],{"type":290},{"type":5869},{},{"nodeType":143,"data":11267,"content":11268},{},[11269],{"nodeType":147,"value":11270,"marks":11271,"data":11273},"The early computers were a long way from anything we have today. It’s sobering to consider how many years of capital-intensive incubation within the military-industrial complex were needed before the technology had become sufficiently cheap, reliable, and miniaturised to rouse real interest from the private sector, let alone the village butcher. ",[11272],{"type":290},{},{"nodeType":143,"data":11275,"content":11276},{},[11277,11282],{"nodeType":147,"value":11278,"marks":11279,"data":11281},"IBM’s 701 mainframe, announced to the public on May 21, 1952 and originally dubbed the ‘Defense Calculator’, became the first computer commercially available in the US. There’s an apocryphal quote, usually attributed to Thomas J. Watson Jr., IBM’s president, from a stockholders meeting in 1953, to the effect that he believed there was a worldwide market for only five computers. This isn’t quite true; Watson really said that, when IBM had drawn up the plans for the 701 and toured them across the country to ‘some twenty concerns’ that they thought ‘could use such a machine’, they had assumed they’d only get five orders and were astonished to get eighteen.",[11280],{"type":290},{},{"nodeType":147,"value":11283,"marks":11284,"data":11287},"31 ",[11285,11286],{"type":290},{"type":5869},{},{"nodeType":143,"data":11289,"content":11290},{},[11291,11296],{"nodeType":147,"value":11292,"marks":11293,"data":11295},"At first, general-purpose computers were not designed to work in real time. Like the human computers they replaced, they supported the war effort using batch processing. Such computing was a stately, offline affair. You submitted your job, and went to get a coffee ... or, more likely, take a nap while technicians nursed the job along, replacing tubes, clearing punch-card-reader jams, and swapping out spools of magnetic tape. Running on the ENIAC, bff would have taken centuries to achieve full-tape replication. By 1952, on the IBM 701, it would still have taken years, running nonstop, at a cost of millions of (today’s) dollars.",[11294],{"type":290},{},{"nodeType":147,"value":11297,"marks":11298,"data":11301},"32 ",[11299,11300],{"type":290},{"type":5869},{},{"nodeType":143,"data":11303,"content":11304},{},[11305,11310,11316],{"nodeType":147,"value":11306,"marks":11307,"data":11309},"The ’50s did see some early experiments in interactive architectures. Project Whirlwind, operational in 1951, was initially designed for flight simulation, and later became the heart of the US Air Force’s SAGE air-defense system.",[11308],{"type":290},{},{"nodeType":147,"value":11311,"marks":11312,"data":11315},"33",[11313,11314],{"type":290},{"type":5869},{},{"nodeType":147,"value":11317,"marks":11318,"data":11320}," Real-time computing had become important due to the development of radar and related radio-signaling technologies, effectively allowing one machine to physically detect another machine – at least one of which might be moving through space at high speed and with lethal intent. ",[11319],{"type":290},{},{"nodeType":143,"data":11322,"content":11323},{},[11324],{"nodeType":147,"value":11325,"marks":11326,"data":11328},"Identify Friend or Foe (IFF) systems soon followed, using encrypted signaling to allow radar dots to be annotated when a bogey was ‘one of ours’. This in turn created an incentive to hack an enemy’s IFF system, spoofing the ‘friend’ signal to sneak into enemy territory. A game of technical one-upmanship ensued, not unlike that of the Cambrian explosion. ",[11327],{"type":290},{},{"nodeType":143,"data":11330,"content":11331},{},[11332,11337,11343],{"nodeType":147,"value":11333,"marks":11334,"data":11336},"Still more Cambrian was the rapidly increasing speed, precision, and deadliness of the military hardware. Jet fighters, missiles, and anti-missile defenses proliferated. GPS was invented in large part to make autonomous weapons guidance possible, as it was obvious that high-speed warfare would soon render keeping a human ‘in the loop’ impossible; the precision and response time needed were superhuman. Even the G-forces incurred by aerial maneuvers soon began to exceed human endurance.",[11335],{"type":290},{},{"nodeType":147,"value":11338,"marks":11339,"data":11342},"34",[11340,11341],{"type":290},{"type":5869},{},{"nodeType":147,"value":11344,"marks":11345,"data":11347}," Robots would need to close the sensorimotor loops of these new weapons systems. ",[11346],{"type":290},{},{"nodeType":143,"data":11349,"content":11350},{},[11351],{"nodeType":147,"value":11352,"marks":11353,"data":11356},"[from Chapter 3] ",[11354,11355],{"type":808},{"type":290},{},{"nodeType":8159,"data":11358,"content":11359},{},[11360,11368],{"nodeType":143,"data":11361,"content":11362},{},[11363],{"nodeType":147,"value":11364,"marks":11365,"data":11367},"Agüera y Arcas discusses the functional and social origins of computation: machines built to automate calculation for state and military needs. Over time, warfare and defense applications turned calculation into competition – each side trying to predict the other’s moves more accurately and faster. From artillery tables to radar, IFF systems, and autonomous weapons, computation became about anticipation under pressure, a feedback loop where predicting others’ predictions meant survival. ",[11366],{"type":290},{},{"nodeType":143,"data":11369,"content":11370},{},[11371],{"nodeType":147,"value":11372,"marks":11373,"data":11375},"This arms race between systems formalised what Agüera y Arcas later calls intelligence’s ‘killer app’: adversarial prediction driving recursive complexity. Each escalation – faster targeting, encrypted signals, counter-signals, and real-time feedback – pushed machines (and humans) toward deeper modeling of the other’s models. The writer generalises this pattern beyond war: competition, evolution, and even conversation become domains where intelligence emerges through the need to out-predict an opponent. ",[11374],{"type":290},{},{"nodeType":5812,"data":11377,"content":11378},{},[11379],{"nodeType":147,"value":11380,"marks":11381,"data":11383},"Matroyshka Dolls ",[11382],{"type":290},{},{"nodeType":143,"data":11385,"content":11386},{},[11387,11392,11398],{"nodeType":147,"value":11388,"marks":11389,"data":11391},"But theory of mind",[11390],{"type":290},{},{"nodeType":147,"value":11393,"marks":11394,"data":11397},"35",[11395,11396],{"type":290},{"type":5869},{},{"nodeType":147,"value":11399,"marks":11400,"data":11402}," is far more than just a valuable skill for navigating hidden barbs and avoiding faux pas at teatime. There is good evidence that it is the very stuff of intelligence; it is, thus, at the heart of this book’s main argument. ",[11401],{"type":290},{},{"nodeType":143,"data":11404,"content":11405},{},[11406],{"nodeType":147,"value":11407,"marks":11408,"data":11410},"We have arrived at that heart. My contention is that theory of mind: ",[11409],{"type":290},{},{"nodeType":11412,"data":11413,"content":11414},"unordered-list",{},[11415,11427,11438,11449,11460,11471,11482,11493],{"nodeType":11416,"data":11417,"content":11418},"list-item",{},[11419],{"nodeType":143,"data":11420,"content":11421},{},[11422],{"nodeType":147,"value":11423,"marks":11424,"data":11426},"Powers the ‘intelligence explosions’ observed in our own lineage, the hominins, and in other brainy species; ",[11425],{"type":290},{},{"nodeType":11416,"data":11428,"content":11429},{},[11430],{"nodeType":143,"data":11431,"content":11432},{},[11433],{"nodeType":147,"value":11434,"marks":11435,"data":11437},"Gives us the ability to entertain counterfactual ‘what-ifs’;",[11436],{"type":290},{},{"nodeType":11416,"data":11439,"content":11440},{},[11441],{"nodeType":143,"data":11442,"content":11443},{},[11444],{"nodeType":147,"value":11445,"marks":11446,"data":11448},"Motivates, and is enhanced by, the development of language;",[11447],{"type":290},{},{"nodeType":11416,"data":11450,"content":11451},{},[11452],{"nodeType":143,"data":11453,"content":11454},{},[11455],{"nodeType":147,"value":11456,"marks":11457,"data":11459},"Allows us to make purposive decisions beyond ‘autopilot mode’;",[11458],{"type":290},{},{"nodeType":11416,"data":11461,"content":11462},{},[11463],{"nodeType":143,"data":11464,"content":11465},{},[11466],{"nodeType":147,"value":11467,"marks":11468,"data":11470},"Underwrites free will;",[11469],{"type":290},{},{"nodeType":11416,"data":11472,"content":11473},{},[11474],{"nodeType":143,"data":11475,"content":11476},{},[11477],{"nodeType":147,"value":11478,"marks":11479,"data":11481},"Operates both in social networks and within individual brains;",[11480],{"type":290},{},{"nodeType":11416,"data":11483,"content":11484},{},[11485],{"nodeType":143,"data":11486,"content":11487},{},[11488],{"nodeType":147,"value":11489,"marks":11490,"data":11492},"Results automatically from symbioses among predictors; and",[11491],{"type":290},{},{"nodeType":11416,"data":11494,"content":11495},{},[11496],{"nodeType":143,"data":11497,"content":11498},{},[11499],{"nodeType":147,"value":11500,"marks":11501,"data":11503},"Is the origin and mechanism of consciousness. ",[11502],{"type":290},{},{"nodeType":143,"data":11505,"content":11506},{},[11507],{"nodeType":147,"value":11508,"marks":11509,"data":11511},"In a sense, theory of mind is mind. ",[11510],{"type":290},{},{"nodeType":143,"data":11513,"content":11514},{},[11515],{"nodeType":147,"value":11516,"marks":11517,"data":11520},"[excerpted from ‘Matroyshka Dolls’, Chapter 5] ",[11518,11519],{"type":808},{"type":290},{},{"nodeType":5812,"data":11522,"content":11523},{},[11524],{"nodeType":147,"value":11525,"marks":11526,"data":11528},"Intelligence Explosion ",[11527],{"type":290},{},{"nodeType":143,"data":11530,"content":11531},{},[11532],{"nodeType":147,"value":11533,"marks":11534,"data":11536},"These are big claims. Let’s begin with the more established ones. ",[11535],{"type":290},{},{"nodeType":143,"data":11538,"content":11539},{},[11540,11545],{"nodeType":147,"value":11541,"marks":11542,"data":11544},"In the 1970s, Dian Fossey, the world’s leading expert on gorilla behaviour, invited British neuropsychologist Nicholas Humphrey to spend a few months at her research station in the Virunga Mountains of Rwanda. Reflecting later on what he had seen, Humphrey wrote, ‘[O]f all the animals in the forest the gorillas seemed to lead much the simplest existence – food abundant and easy to harvest (provided they knew where to find it), few if any predators (provided they knew how to avoid them) ... little to do in fact (and little done) but eat, sleep and play. And the same is arguably true for natural man.’",[11543],{"type":290},{},{"nodeType":147,"value":11546,"marks":11547,"data":11550},"36 ",[11548,11549],{"type":290},{"type":5869},{},{"nodeType":143,"data":11552,"content":11553},{},[11554],{"nodeType":147,"value":11555,"marks":11556,"data":11558},"These observations flew in the face of the usual explanation for evolving high intelligence – that it’s all about being a brilliant hunter, or otherwise ‘winning’ at playing a brutal, Hobbesian game of survival in a tough environment. But if not to hunt (or evade hunters), why bother with intelligence? Couldn’t one live the easy life of a gorilla without incurring the high cost of a big brain? The fossil record suggests not: primate brains in many lineages, including those of gorillas and humans, haven’t shrunk over time, but, rather, have grown dramatically. ",[11557],{"type":290},{},{"nodeType":143,"data":11560,"content":11561},{},[11562,11567],{"nodeType":147,"value":11563,"marks":11564,"data":11566},"Humphrey’s explanation: ‘[T]he life of the great apes and man [...] depend[s] critically on the possession of wide factual knowledge of practical technique and the nature of the habitat. Such knowledge can only be acquired in the context of a social community [...] which provides both a medium for the cultural transmission of information and a protective environment in which individual learning can occur. [...][T]he chief role of creative intellect is to hold society together.’",[11565],{"type":290},{},{"nodeType":147,"value":11568,"marks":11569,"data":11572},"37 ",[11570,11571],{"type":290},{"type":5869},{},{"nodeType":143,"data":11574,"content":11575},{},[11576,11581,11587],{"nodeType":147,"value":11577,"marks":11578,"data":11580},"There are now many variations on this basic theory – some, like Humphrey, emphasising cooperation and division of labour, others competition and Machiavellian politics.",[11579],{"type":290},{},{"nodeType":147,"value":11582,"marks":11583,"data":11586},"38",[11584,11585],{"type":290},{"type":5869},{},{"nodeType":147,"value":11588,"marks":11589,"data":11591}," These correspond fairly well to the ‘love’ versus ‘war’ explanations for the emergence of intelligence generally, as described in chapter 3. ",[11590],{"type":290},{},{"nodeType":143,"data":11593,"content":11594},{},[11595,11600],{"nodeType":147,"value":11596,"marks":11597,"data":11599},"In the 1990s, evolutionary psychologist Robin Dunbar and colleagues used comparative brain-size measurements across species to advance the closely related ‘social brain hypothesis’, which holds that the rapid increases in brain size evident in hominins and cetaceans (whales and dolphins), among others, arise from mentalising one-upmanship.",[11598],{"type":290},{},{"nodeType":147,"value":11601,"marks":11602,"data":11605},"39 ",[11603,11604],{"type":290},{"type":5869},{},{"nodeType":5945,"data":11607,"content":11647},{"target":11608},{"metadata":11609,"sys":11612,"fields":11621},{"tags":11610,"concepts":11611},[],[],{"space":11613,"id":11615,"type":18,"createdAt":11616,"updatedAt":11616,"environment":11617,"publishedVersion":51,"revision":216,"contentType":11619,"locale":31},{"sys":11614},{"type":14,"linkType":15,"id":16},"186YdyAJcuRD3Fv8xjv8hS","2025-12-15T21:26:38.522Z",{"sys":11618},{"id":23,"type":14,"linkType":24},{"sys":11620},{"type":14,"linkType":29,"id":5961},{"name":10693,"visibility":5987,"images":11622,"galleryFormat":5988,"gallerySize":7569,"gridColumns":5866,"gridSpacing":5990,"scrollImageSize":5989,"imageOptions":11646},[11623],{"metadata":11624,"sys":11627,"fields":11635},{"tags":11625,"concepts":11626},[],[],{"space":11628,"id":11630,"type":212,"createdAt":11631,"updatedAt":11632,"environment":11633,"publishedVersion":1078,"revision":1123,"locale":31},{"sys":11629},{"type":14,"linkType":15,"id":16},"4yl2vY7059X3zHli1zjqoc","2025-12-15T21:22:19.687Z","2025-12-15T21:22:40.769Z",{"sys":11634},{"id":23,"type":14,"linkType":24},{"title":11636,"description":11637,"file":11638},"CONG002 what is intelligence 03","Muséum d’Histoire Naturelle de Marseille, l’École d’art d’Aix-en- Provence: “Cerveau,” September 12, 2004–December 12, 2004. Redesigned by James Goggin, Practise",{"url":11639,"details":11640,"fileName":11645,"contentType":228},"\u002F\u002Fimages.ctfassets.net\u002F2urh0izv0sep\u002F4yl2vY7059X3zHli1zjqoc\u002Ff8c5403006c8af3cca4855de7a250942\u002FScreenshot_2025-12-15_at_21.20.28.png",{"size":11641,"image":11642},616911,{"width":11643,"height":11644},2070,1626,"Screenshot 2025-12-15 at 21.20.28.png",[4640],[],{"nodeType":143,"data":11649,"content":11650},{},[11651,11656,11662,11667,11673],{"nodeType":147,"value":11652,"marks":11653,"data":11655},"Underpinning all of these related hypotheses is the observation that, among highly social animals like us, theory of mind is a powerfully adaptive trait. Being better able to get inside others’ heads increases the odds of finding a mate, building coalitions, securing resources from friends and family, getting help raising young,",[11654],{"type":290},{},{"nodeType":147,"value":11657,"marks":11658,"data":11661},"40",[11659,11660],{"type":290},{"type":5869},{},{"nodeType":147,"value":11663,"marks":11664,"data":11666}," avoiding violence (or being on the winning side of it), climbing in prestige, and amassing fans or followers. So, unsurprisingly, people with better theory of mind tend to live longer and have greater reproductive success.",[11665],{"type":290},{},{"nodeType":147,"value":11668,"marks":11669,"data":11672},"41",[11670,11671],{"type":290},{"type":5869},{},{"nodeType":147,"value":11674,"marks":11675,"data":11677}," That means Darwinian selection will be at work. ",[11676],{"type":290},{},{"nodeType":143,"data":11679,"content":11680},{},[11681,11686,11692],{"nodeType":147,"value":11682,"marks":11683,"data":11685},"Strong theory of mind is correlated with both larger numbers of friends and larger brains, particularly in brain areas associated with mentalising – above all, the frontal cortex.",[11684],{"type":290},{},{"nodeType":147,"value":11687,"marks":11688,"data":11691},"42",[11689,11690],{"type":290},{"type":5869},{},{"nodeType":147,"value":11693,"marks":11694,"data":11696}," Thus, startlingly, we can see evidence of the evolutionary pressure on social intelligence even among modern humans. ",[11695],{"type":290},{},{"nodeType":143,"data":11698,"content":11699},{},[11700,11705,11711,11716,11722,11727,11733],{"nodeType":147,"value":11701,"marks":11702,"data":11704},"My guess is that the extra cortical volume of highly social people is dedicated not only to general mentalising skills, but also to rich learned representations – we could even call them ",[11703],{"type":290},{},{"nodeType":147,"value":11706,"marks":11707,"data":11710},"simulations ",[11708,11709],{"type":808},{"type":290},{},{"nodeType":147,"value":11712,"marks":11713,"data":11715},"– of their many specific family members, friends, colleagues, and acquaintances.",[11714],{"type":290},{},{"nodeType":147,"value":11717,"marks":11718,"data":11721},"43",[11719,11720],{"type":290},{"type":5869},{},{"nodeType":147,"value":11723,"marks":11724,"data":11726}," After all, mentalising requires not just imagining another person in the abstract, but modelling their particular life experience, what they know and don’t know, their quirks and values, the ways they express themselves – in short, everything that comprises a personality, outlook, and ",[11725],{"type":290},{},{"nodeType":147,"value":11728,"marks":11729,"data":11732},"umwelt",[11730,11731],{"type":808},{"type":290},{},{"nodeType":147,"value":11734,"marks":11735,"data":11737},". You probably bring such knowledge to bear effortlessly to play out hypothetical social situations in your head, drawing on a cast of hundreds of people you know. ",[11736],{"type":290},{},{"nodeType":143,"data":11739,"content":11740},{},[11741,11746,11752],{"nodeType":147,"value":11742,"marks":11743,"data":11745},"This task is even harder than it appears at first glance, because there are infinite reflections in the social hall of mirrors: all of those people are themselves modelling others, including you. And, of course, their models of you include models of ",[11744],{"type":290},{},{"nodeType":147,"value":11747,"marks":11748,"data":11751},"them",[11749,11750],{"type":808},{"type":290},{},{"nodeType":147,"value":11753,"marks":11754,"data":11756},", and of others. These relationships are important, because they powerfully affect behaviour. Who shared their meat with whom after the last hunt, and in front of whom? Who is sleeping with whom? Who is gossiping about it, and who doesn’t know? Who is beefing with whom, and over what (or whom)? ",[11755],{"type":290},{},{"nodeType":143,"data":11758,"content":11759},{},[11760,11765,11771,11776,11782],{"nodeType":147,"value":11761,"marks":11762,"data":11764},"Even if your model of second-order relationships (i.e., who is friends with whom, and what you know about those interactions) is not as rich as your model of first-order relationships (your friends), the sheer ",[11763],{"type":290},{},{"nodeType":147,"value":11766,"marks":11767,"data":11770},"number ",[11768,11769],{"type":808},{"type":290},{},{"nodeType":147,"value":11772,"marks":11773,"data":11775},"of higher-order terms in your model explodes. If you have twenty classmates who all know each other (and you), then you need to keep track not only of your twenty relationships with them, but of all of ",[11774],{"type":290},{},{"nodeType":147,"value":11777,"marks":11778,"data":11781},"their ",[11779,11780],{"type":808},{"type":290},{},{"nodeType":147,"value":11783,"marks":11784,"data":11786},"relationships with each other and with you, which is another 20×20=400 pieces of information. Third-order relationships climb into the thousands. ",[11785],{"type":290},{},{"nodeType":143,"data":11788,"content":11789},{},[11790,11795,11801],{"nodeType":147,"value":11791,"marks":11792,"data":11794},"The numbers get truly mind-boggling when you consider that our acquaintances can easily number in the hundreds; family, school, and work environments tend to involve cohorts of people who all know each other; and our theories of mind can go up to sixth order, or beyond.",[11793],{"type":290},{},{"nodeType":147,"value":11796,"marks":11797,"data":11800},"44",[11798,11799],{"type":290},{"type":5869},{},{"nodeType":147,"value":11802,"marks":11803,"data":11805}," You can imagine, then, that even if many corners are cut, the amount of brain volume needed to do social modelling might grow both as a function of your number of friends and as a function of your ability to model higher-order relationships. ",[11804],{"type":290},{},{"nodeType":143,"data":11807,"content":11808},{},[11809,11814,11820,11825,11831],{"nodeType":147,"value":11810,"marks":11811,"data":11813},"Indeed, when Dunbar and colleagues set out to find the relationship between the brain sizes and the social-group sizes of brainy animals, they found that as troop size increases, the amount of brain volume dedicated to the cortex also increases.",[11812],{"type":290},{},{"nodeType":147,"value":11815,"marks":11816,"data":11819},"45",[11817,11818],{"type":290},{"type":5869},{},{"nodeType":147,"value":11821,"marks":11822,"data":11824}," Mentalising order, which Dunbar refers to as ‘intentionality level’, appears to be limited by cortical volume; behavioural studies suggest that monkeys can only operate at level one, while nonhuman apes have level-two intentionality. By extrapolation, archaic humans and Neanderthals may only have been able to achieve level-four intentionality, which is at ‘the lower end of the normal distribution for modern human adults, and at about the same intellectual level as young teenagers.’",[11823],{"type":290},{},{"nodeType":147,"value":11826,"marks":11827,"data":11830},"46",[11828,11829],{"type":290},{"type":5869},{},{"nodeType":147,"value":11832,"marks":11833,"data":11835}," Finally, the slope of the relationship between cortical volume and troop size is considerably steeper for apes than for monkeys, consistent with the idea that modelling higher levels of intentionality requires a greater investment of cognitive resources per troop member. ",[11834],{"type":290},{},{"nodeType":5945,"data":11837,"content":11878},{"target":11838},{"metadata":11839,"sys":11842,"fields":11851},{"tags":11840,"concepts":11841},[],[],{"space":11843,"id":11845,"type":18,"createdAt":11846,"updatedAt":11846,"environment":11847,"publishedVersion":91,"revision":216,"contentType":11849,"locale":31},{"sys":11844},{"type":14,"linkType":15,"id":16},"6h0BN2M4VzqWditz1WOmBN","2025-12-15T21:26:58.218Z",{"sys":11848},{"id":23,"type":14,"linkType":24},{"sys":11850},{"type":14,"linkType":29,"id":5961},{"name":11852,"visibility":5987,"images":11853,"galleryFormat":5988,"gallerySize":7569,"gridColumns":5866,"gridSpacing":5990,"scrollImageSize":5989,"imageOptions":11877},"What Is Intelligence: Excerpts image 4",[11854],{"metadata":11855,"sys":11858,"fields":11866},{"tags":11856,"concepts":11857},[],[],{"space":11859,"id":11861,"type":212,"createdAt":11862,"updatedAt":11863,"environment":11864,"publishedVersion":71,"revision":1123,"locale":31},{"sys":11860},{"type":14,"linkType":15,"id":16},"4gwy2LX4y7fiZUzZri7DED","2025-12-15T21:23:00.406Z","2026-01-15T10:22:15.965Z",{"sys":11865},{"id":23,"type":14,"linkType":24},{"title":11867,"description":11868,"file":11869},"CONG002 what is intelligence 04","Data from Robin I. M. Dunbar, “The social brain hypothesis,” _Evolutionary Anthropology: Issues, News, and Reviews_ 6, no. 5 (1998): 178–190. Redesigned by James Goggin, Practise",{"url":11870,"details":11871,"fileName":11876,"contentType":228},"\u002F\u002Fimages.ctfassets.net\u002F2urh0izv0sep\u002F4gwy2LX4y7fiZUzZri7DED\u002F78ed6d0c2f2bf5e3dc75d1e67391e1bb\u002FScreenshot_2025-12-15_at_21.21.02.png",{"size":11872,"image":11873},309470,{"width":11874,"height":11875},1968,1462,"Screenshot 2025-12-15 at 21.21.02.png",[4640],[],{"nodeType":143,"data":11880,"content":11881},{},[11882,11887,11893],{"nodeType":147,"value":11883,"marks":11884,"data":11886},"Findings relating brain size to social group size, and social group size to Darwinian fitness, are themselves a hall of mirrors, revealing a profound self-similarity – and feedback loop – between brains and social groups. If you have a slightly larger brain than your friends and family, and are able to model more relationships more reliably, you will have a Darwinian advantage, so on average will have slightly more descendants than those who are less socially adept. But that means that your descendants will themselves become harder to model socially; that is, everyone else’s model of them must now be more complex, including higher-level intentionality and more relationships. And remember, everybody is trying to predict everybody else, but ",[11885],{"type":290},{},{"nodeType":147,"value":11888,"marks":11889,"data":11892},"not ",[11890,11891],{"type":808},{"type":290},{},{"nodeType":147,"value":11894,"marks":11895,"data":11897},"be fully predictable themselves! ",[11896],{"type":290},{},{"nodeType":143,"data":11899,"content":11900},{},[11901],{"nodeType":147,"value":11902,"marks":11903,"data":11905},"So it’s an arms race, not unlike that of the Cambrian explosion – though (usually) friendlier. Everyone is getting a bigger brain to model everyone else, and everyone else is getting harder to model at the same time, because ... well, their brains are getting bigger. A social intelligence explosion ensues: a rapid (by evolutionary standards) increase in brain volume in your species. ",[11904],{"type":290},{},{"nodeType":143,"data":11907,"content":11908},{},[11909,11914,11920],{"nodeType":147,"value":11910,"marks":11911,"data":11913},"When social modeling becomes such an important component of everyone’s life, the effect on individual incentives is dramatic. Lone operators, like leopards, are content to fend for themselves; their ",[11912],{"type":290},{},{"nodeType":147,"value":11915,"marks":11916,"data":11919},"umwelt ",[11917,11918],{"type":808},{"type":290},{},{"nodeType":147,"value":11921,"marks":11922,"data":11924},"consists mainly of their territory and their prey, while other leopards are, most of the time, unwelcome intruders. For a modern human, though, being cast out or excluded from the community becomes a severe punishment– or even a death sentence. Our world consists largely of other people, and most of us would be unable to survive at all without continual mutual aid. ",[11923],{"type":290},{},{"nodeType":143,"data":11926,"content":11927},{},[11928],{"nodeType":147,"value":11929,"marks":11930,"data":11932},"At the same time, sociality is a fraught business. We try to ‘win’ at modelling others without being fully modelled ourselves; we compete for mating opportunities and for attention; we strive for dominance and prestige. These dynamics once again illustrate how competition and cooperation can be interwoven to such a degree that it can be hard to tell which is which. ",[11931],{"type":290},{},{"nodeType":143,"data":11934,"content":11935},{},[11936],{"nodeType":147,"value":11937,"marks":11938,"data":11940},"Selection pressure also operates at the level of social groups. If one group sports slightly bigger brains and greater social prowess, the group itself can grow larger, and will thus tend to outcompete the smaller (and smaller-brained) group. Such may have been the fate of certain of our now-extinct hominin kin. ",[11939],{"type":290},{},{"nodeType":143,"data":11942,"content":11943},{},[11944,11949,11955,11960,11966],{"nodeType":147,"value":11945,"marks":11946,"data":11948},"Societies have a kind of collective intelligence, and a rich body of work in social anthropology tells us that collective intelligence exhibits a scaling law not unlike that of individual brains. Theory of mind, incidentally, is important both for effective teaching and effective learning, which implies that it enhances cultural evolution at the group level too.",[11947],{"type":290},{},{"nodeType":147,"value":11950,"marks":11951,"data":11954},"47",[11952,11953],{"type":290},{"type":5869},{},{"nodeType":147,"value":11956,"marks":11957,"data":11959}," So, bigger societies can create and evolve more complex technologies, and thereby develop greater adaptability and resilience.",[11958],{"type":290},{},{"nodeType":147,"value":11961,"marks":11962,"data":11965},"48",[11963,11964],{"type":290},{"type":5869},{},{"nodeType":147,"value":11967,"marks":11968,"data":11970}," Greater scale, in other words, can support greater intelligence, and greater intelligence improves dynamic stability, both at the individual level and at the group level. ",[11969],{"type":290},{},{"nodeType":143,"data":11972,"content":11973},{},[11974],{"nodeType":147,"value":11975,"marks":11976,"data":11979},"[ from Chapter 5] ",[11977,11978],{"type":808},{"type":290},{},{"nodeType":8159,"data":11981,"content":11982},{},[11983],{"nodeType":143,"data":11984,"content":11985},{},[11986],{"nodeType":147,"value":11987,"marks":11988,"data":11990},"Agüera y Arcas critiques the popular ‘before–during–after’ story of AI – narrow, general, and superintelligence – as misleading. He argues that ‘general’ ability already emerged when unsupervised, sequence- predicting language models began performing arbitrary tasks through in-context learning. This was a continuous performance climb, not a discrete leap. Debates about the exact moment of AGI miss the point: intelligence evolves by degree. Even supposedly narrow systems learn universal representations, implying that every specialised predictor contains generality in miniature. From this view, AI’s ‘transition’ started as early as the 1940s with cybernetic sequence learners – the first machines to predict. The history of AI is therefore part of life’s broader story of predictive evolution. ",[11989],{"type":290},{},{"nodeType":143,"data":11992,"content":11993},{},[11994],{"nodeType":147,"value":219,"marks":11995,"data":11996},[],{},{"nodeType":5812,"data":11998,"content":11999},{},[12000],{"nodeType":147,"value":12001,"marks":12002,"data":12004},"Transitions ",[12003],{"type":290},{},{"nodeType":143,"data":12006,"content":12007},{},[12008],{"nodeType":147,"value":12009,"marks":12010,"data":12012},"The emergence of ai marks what theoretical biologists John Maynard Smith and Eörs Szathmáry have termed a ‘major evolutionary transition’ or MET49 – a term we first encountered in chapter 1.50 Smith and Szathmáry describe three characteristic features of METs: ",[12011],{"type":290},{},{"nodeType":11412,"data":12014,"content":12015},{},[12016,12027,12038],{"nodeType":11416,"data":12017,"content":12018},{},[12019],{"nodeType":143,"data":12020,"content":12021},{},[12022],{"nodeType":147,"value":12023,"marks":12024,"data":12026},"Smaller entities that were formerly capable of independent replication come together to form larger entities that can only replicate as a whole. ",[12025],{"type":290},{},{"nodeType":11416,"data":12028,"content":12029},{},[12030],{"nodeType":143,"data":12031,"content":12032},{},[12033],{"nodeType":147,"value":12034,"marks":12035,"data":12037},"There is a division of labour among the smaller entities, increasing the efficiency of the larger whole through specialization. ",[12036],{"type":290},{},{"nodeType":11416,"data":12039,"content":12040},{},[12041],{"nodeType":143,"data":12042,"content":12043},{},[12044],{"nodeType":147,"value":12045,"marks":12046,"data":12048},"New forms of information storage and transmission arise to support the larger whole, giving rise to new forms of evolutionary selection. ",[12047],{"type":290},{},{"nodeType":143,"data":12050,"content":12051},{},[12052],{"nodeType":147,"value":12053,"marks":12054,"data":12056},"Szathmáry and others have since proposed a few changes (such as adding the endo- symbiosis of plastids, leading to plant life), but the larger point is that the list of major transitions is short, and each item on it represents a momentous new symbiosis with planetary-scale consequences. Any meaningful periodisation of life and intelligence on Earth must focus on big transitions like these. ",[12055],{"type":290},{},{"nodeType":143,"data":12058,"content":12059},{},[12060],{"nodeType":147,"value":12061,"marks":12062,"data":12064},"That the transitions appear to be happening at increasing frequency is not just an artifact of the haziness of the distant past, but of their inherent learning dynamics, as Turchin described. Increasingly powerful predictive models are, as we have seen, also increasingly capable learners. Furthermore, in-context learning shows us how all predictive learning also involves learning to learn. So, as models become better learners, they will more readily be able to ‘go meta’, giving rise to an MET and producing an even more capable learner. This is why cultural evolution is so much faster than genetic evolution. ",[12063],{"type":290},{},{"nodeType":143,"data":12066,"content":12067},{},[12068,12073,12079],{"nodeType":147,"value":12069,"marks":12070,"data":12072},"Max Bennett argues that ‘the singularity already happened’",[12071],{"type":290},{},{"nodeType":147,"value":12074,"marks":12075,"data":12078},"51",[12076,12077],{"type":290},{"type":5869},{},{"nodeType":147,"value":12080,"marks":12081,"data":12083}," when cultural accumulation, powered by language and later by writing, began to rapidly ratchet human technology upward over the past several thousand years. This is a defensible position, and doesn’t map well to the last MET on Smith and Szathmáry’s list, since humans have existed (and have been using language) for far longer than a few thousand years. Hence Bennett’s ‘cultural singularity’ doesn’t distinguish humans from nonhuman primates, but, rather, is associated with urbanization and its attendant division of labour. Therefore, this recent transition is neither an immediate consequence of language nor an inherent property of humanity per se, but a distinctly modern and collective phenomenon. It is posthuman in the literal sense that it postdates our emergence as a species. ",[12082],{"type":290},{},{"nodeType":143,"data":12085,"content":12086},{},[12087],{"nodeType":147,"value":12088,"marks":12089,"data":12091},"The Pirahã, for instance, who still maintain their traditional lifeways in the Amazon, are just as human as any New Yorker, but possess a degree of self-sufficiency radically unlike New Yorkers. They can ‘walk into the jungle naked, with no tools or weapons, and walk out three days later with baskets of fruit, nuts, and small game.’52 According to Daniel Everett, ",[12090],{"type":290},{},{"nodeType":143,"data":12093,"content":12094},{},[12095],{"nodeType":147,"value":12096,"marks":12097,"data":12099},"The Pirahãs have an undercurrent of Darwinism running through their parenting philosophy. This style of parenting has the result of producing very tough and resilient adults who do not believe that anyone owes them anything. Citizens of the Pirahã nation know that each day’s survival depends on their individual skills and hardiness. When a Pirahã woman gives birth, she may lie down in the shade near her field or wherever she happens to be and go into labour, very often by herself. ",[12098],{"type":290},{},{"nodeType":143,"data":12101,"content":12102},{},[12103],{"nodeType":147,"value":12104,"marks":12105,"data":12107},"Everett recounts the wrenching story of a woman who struggled to give birth on the beach of the Maici river, within earshot of others, but found that her baby wouldn’t come. It was in the breech position. Despite her screams over the course of an entire day, nobody came; the Pirahã went so far as to actively prevent their Western guest from rushing to help. The woman’s screams grew gradually fainter, and in the night, both mother and baby eventually died, unassisted. ",[12106],{"type":290},{},{"nodeType":143,"data":12109,"content":12110},{},[12111],{"nodeType":147,"value":12112,"marks":12113,"data":12115},"In this and other similar stories, the picture that emerges is not of a cruel or unfeeling people – in one more lighthearted episode, the Pirahã express horrified disbelief at Everett for spanking his unruly preteen – but of a society that is at once intensely communitarian and individualistic. They readily share resources, but there is no social hierarchy and little specialisation. Everyone is highly competent at doing everything necessary to survive, starting from a very young age. The corollary, though, is that everyone is expected to be able to make do for themselves. ",[12114],{"type":290},{},{"nodeType":143,"data":12117,"content":12118},{},[12119],{"nodeType":147,"value":12120,"marks":12121,"data":12123},"The Pirahã are, of course, a particular people with their own ways and customs, not a universal stand-in for pre-agrarian humanity. However, the traits I’m emphasising here – tightly knit egalitarian communities whose individuals are broadly competent at survival – are frequently recurring themes in accounts of modern hunter-gatherers. It seems a safe bet that this was the norm for humanity throughout the majority of our long prehistory. ",[12122],{"type":290},{},{"nodeType":143,"data":12125,"content":12126},{},[12127],{"nodeType":147,"value":12128,"marks":12129,"data":12131},"We’re justified in describing as METs the transition from traditional to agrarian, then to urban lifeways. During the agrarian revolution, a new network of intensely interdependent relationships arose between humans, animals, and plants; then, with urbanization, machines entered the mix and human labour diversified much further. ",[12130],{"type":290},{},{"nodeType":143,"data":12133,"content":12134},{},[12135],{"nodeType":147,"value":12136,"marks":12137,"data":12139},"New York (and the modern, globalised socio-technical world in general) is a self- perpetuating system whose individuals are no longer competent in the ways the Pirahã are. Urban people have become, on one hand, hyper-specialised, and, on the other, de- skilled to the point where they can’t survive on their own, any more than one of the cells in your body could survive on its own. It’s not just language, but written texts, schools and guilds, banking, complex systems of governance, supply-chain management, and many other information-storage and transmission mechanisms that add the evolvable ‘DNA’ needed to organise and sustain urban societies. ",[12138],{"type":290},{},{"nodeType":143,"data":12141,"content":12142},{},[12143],{"nodeType":147,"value":12144,"marks":12145,"data":12147},"It seems to me, though, that this MET is still not the last on the list. By 1700, significant human populations had urbanization, division of labour, and rapid cultural evolution. Then came the first Industrial Revolution, as introduced in chapter 1: a symbiosis between humans and heat engines, resulting in a hydrocarbon metabolism that unleashed unprecedented amounts of free energy, much like the endosymbiosis of mitochondria. This allowed human and livestock populations to explode, enabled a first wave of large-scale urbanization, and drove unprecedented technological innovation. As Karl Marx and Friedrich Engels noted in 1848, ",[12146],{"type":290},{},{"nodeType":143,"data":12149,"content":12150},{},[12151,12157],{"nodeType":147,"value":12152,"marks":12153,"data":12156},"The bourgeoisie, during its rule of scarcely one hundred years, has created more massive and more colossal productive forces than have all preceding generations together. Subjection of Nature’s forces to man, machinery, application of chemistry to industry and agriculture, steam-navigation, railways, electric telegraphs, clearing of whole continents for cultivation, canalization of rivers, whole populations conjured out of the ground – what earlier century had even a presentiment that such productive forces slumbered in the lap of social labor? ",[12154,12155],{"type":808},{"type":290},{},{"nodeType":147,"value":12158,"marks":12159,"data":12162},"53 ",[12160,12161],{"type":290},{"type":5869},{},{"nodeType":143,"data":12164,"content":12165},{},[12166],{"nodeType":147,"value":12167,"marks":12168,"data":12171},"[excerpted from 'Transitions', Chapter 10] ",[12169,12170],{"type":808},{"type":290},{},{"nodeType":143,"data":12173,"content":12174},{},[12175],{"nodeType":147,"value":219,"marks":12176,"data":12178},[12177],{"type":290},{},{"nodeType":5812,"data":12180,"content":12181},{},[12182],{"nodeType":147,"value":12183,"marks":12184,"data":12186},"Vulnerability ",[12185],{"type":290},{},{"nodeType":143,"data":12188,"content":12189},{},[12190],{"nodeType":147,"value":219,"marks":12191,"data":12192},[],{},{"nodeType":143,"data":12194,"content":12195},{},[12196,12201,12207],{"nodeType":147,"value":12197,"marks":12198,"data":12200},"Humans had been working hard, and working together, for thousands of years. It was not ‘social labour’, but coal that had lain slumbering under the ground. Mining was hard work, but the coal itself did an increasing proportion of that work.",[12199],{"type":290},{},{"nodeType":147,"value":12202,"marks":12203,"data":12206},"54",[12204,12205],{"type":290},{"type":5869},{},{"nodeType":147,"value":12208,"marks":12209,"data":12211}," And over time, the coal produced ever more workers. ",[12210],{"type":290},{},{"nodeType":143,"data":12213,"content":12214},{},[12215,12220,12226],{"nodeType":147,"value":12216,"marks":12217,"data":12219},"The conjuring of enormous new populations out of the ground – quite literally, flesh out of fossil fuel – manifested as a population explosion that had become obvious by 1800. This prompted Thomas Malthus and his Chinese contemporary, Hong Liangji, to worry for the first time about global overpopulation.",[12218],{"type":290},{},{"nodeType":147,"value":12221,"marks":12222,"data":12225},"55",[12223,12224],{"type":290},{"type":5869},{},{"nodeType":147,"value":6213,"marks":12227,"data":12229},[12228],{"type":290},{},{"nodeType":143,"data":12231,"content":12232},{},[12233],{"nodeType":147,"value":12234,"marks":12235,"data":12237},"It also created an unprecedented symbiotic interdependency between biology and machinery. Romanticism, the idealisation of rural living, and the utopian communities of the nineteenth century can all be understood as a backlash against that growing dependency, an assertion that we could live the good life without advanced technology and urbanisation. But at scale, we couldn’t. ",[12236],{"type":290},{},{"nodeType":143,"data":12239,"content":12240},{},[12241,12246,12252],{"nodeType":147,"value":12242,"marks":12243,"data":12245},"A second Industrial Revolution arose from the electrification Marx and Engels mentioned in passing.",[12244],{"type":290},{},{"nodeType":147,"value":12247,"marks":12248,"data":12251},"56",[12249,12250],{"type":290},{"type":5869},{},{"nodeType":147,"value":12253,"marks":12254,"data":12256}," From telegraphs, we progressed to telephony, radio, TV, and beyond, all powered by the electrical grid. In some ways this paralleled the development of the first nervous systems, for, like a nerve net, it enabled synchronisation and coordination over long distances. Trains ran on common schedules; stocks and commodities traded at common prices; news broadcasts pulsed over whole continents. ",[12255],{"type":290},{},{"nodeType":143,"data":12258,"content":12259},{},[12260],{"nodeType":147,"value":12261,"marks":12262,"data":12264},"The second Industrial Revolution culminated in another dramatic jump in human population growth: the ‘baby boom.’ While the baby boom had multiple proximal causes, including sanitation and antibiotics, it depended on the resources and information flows made possible by electricity and high-speed communication. ",[12263],{"type":290},{},{"nodeType":143,"data":12266,"content":12267},{},[12268,12273,12279],{"nodeType":147,"value":12269,"marks":12270,"data":12272},"This additional layer of symbiotic dependency between people and technology generated a second wave of Malthusian population anxiety.",[12271],{"type":290},{},{"nodeType":147,"value":12274,"marks":12275,"data":12278},"57",[12276,12277],{"type":290},{"type":5869},{},{"nodeType":147,"value":12280,"marks":12281,"data":12283}," Accordingly, the ‘back to the land’ movements of hippie communes in the ’60s had much in common with nineteenth-century Romanticism. Beyond concerns about the Earth’s ultimate carrying capacity, the sense of precariousness was not unjustified. Dependency is vulnerability. ",[12282],{"type":290},{},{"nodeType":143,"data":12285,"content":12286},{},[12287,12292,12298],{"nodeType":147,"value":12288,"marks":12289,"data":12291},"Consider the effects of an ‘Electromagnetic Pulse’ (EMP) weapon. Nuclear bombs produce an EMP, which will fry any non-hardened electronics exposed to it by inducing powerful electric currents in metal wires. Some experts are concerned that North Korea may already have put such a weapon into a satellite in polar orbit, ready to detonate in space high above the United States.",[12290],{"type":290},{},{"nodeType":147,"value":12293,"marks":12294,"data":12297},"58",[12295,12296],{"type":290},{"type":5869},{},{"nodeType":147,"value":12299,"marks":12300,"data":12302}," At that altitude, the usual destructive effects of a nuclear explosion won’t be felt on the ground, but a powerful EMP could still reach the forty-eight contiguous states, destroying most electrical and electronic equipment. Then what? ",[12301],{"type":290},{},{"nodeType":143,"data":12304,"content":12305},{},[12306],{"nodeType":147,"value":12307,"marks":12308,"data":12310},"For the Pirahã, an EMP would be a non-event. For the US in 1924, it wouldn’t have been a catastrophe either. Only half of American households had electricity, and critical infrastructure was largely mechanical. As of 2024, though, everything relies on electronics: not just power and light, but public transit, cars and trucks, airplanes, factories, farms, military installations, water-pumping stations, dams, waste management, refineries, ports ... everything, worldwide. With these systems down, all supply chains and utilities rendered inoperable, mass death would quickly ensue. An EMP would reveal, horrifyingly, how dependent our urbanised civilisation has become on electronic systems. We have become not only socially interdependent, but collectively cybernetic. ",[12309],{"type":290},{},{"nodeType":5945,"data":12312,"content":12352},{"target":12313},{"metadata":12314,"sys":12317,"fields":12326},{"tags":12315,"concepts":12316},[],[],{"space":12318,"id":12320,"type":18,"createdAt":12321,"updatedAt":12321,"environment":12322,"publishedVersion":51,"revision":216,"contentType":12324,"locale":31},{"sys":12319},{"type":14,"linkType":15,"id":16},"2LeggT3FviEt4KS0XBPjbT","2025-12-16T10:02:22.678Z",{"sys":12323},{"id":23,"type":14,"linkType":24},{"sys":12325},{"type":14,"linkType":29,"id":5961},{"name":12327,"images":12328,"visibility":5987,"galleryFormat":5988,"gallerySize":7569,"gridColumns":5866,"gridSpacing":5990,"scrollImageSize":5989,"imageOptions":12351},"What Is Intelligence: image 4",[12329],{"metadata":12330,"sys":12333,"fields":12340},{"tags":12331,"concepts":12332},[],[],{"space":12334,"id":12336,"type":212,"createdAt":12337,"updatedAt":12337,"environment":12338,"publishedVersion":91,"revision":216,"locale":31},{"sys":12335},{"type":14,"linkType":15,"id":16},"6DtGsKKp3ZcywpYSmm5sj2","2025-12-15T21:21:47.380Z",{"sys":12339},{"id":23,"type":14,"linkType":24},{"title":12341,"description":12342,"file":12343},"images-111","Machine works of Richard Hartmann in Chemnitz. Hartmann was one of the most successful entrepreneurs and largest employers in the Kingdom of Saxony. Public domain.",{"url":12344,"details":12345,"fileName":12350,"contentType":228},"\u002F\u002Fimages.ctfassets.net\u002F2urh0izv0sep\u002F6DtGsKKp3ZcywpYSmm5sj2\u002F0c2e17ec06fe9d72e38c894366bb90c4\u002Fimages-111.png",{"size":12346,"image":12347},1645766,{"width":12348,"height":12349},1022,661,"images-111.png",[4640],[],{"nodeType":143,"data":12354,"content":12355},{},[12356],{"nodeType":147,"value":12357,"marks":12358,"data":12360},"AI may represent yet a further major transition, because earlier cybernetics – such as the control systems of dams, or the electronics in cars – implement only simple, local models, analogous to reflexes or the distributed nerve nets in animals like Hydra. Prior to the 2020s, all of the higher- order modelling and cognition took place in people’s brains, although we did increasingly use traditional computing for information storage and fixed-function programming. ",[12359],{"type":290},{},{"nodeType":143,"data":12362,"content":12363},{},[12364,12369],{"nodeType":147,"value":12365,"marks":12366,"data":12368},"Now, though, we’re entering a period in which the number of complex predictors – analogous to brains – will rapidly exceed the human population. AIs will come in many sizes, both smaller and larger than human brains. They will all be able to run orders of magnitude faster than nervous systems, communicating at near lightspeed.",[12367],{"type":290},{},{"nodeType":147,"value":12370,"marks":12371,"data":12374},"59 ",[12372,12373],{"type":290},{"type":5869},{},{"nodeType":143,"data":12376,"content":12377},{},[12378,12383,12389,12394],{"nodeType":147,"value":12379,"marks":12380,"data":12382},"The emergence of AI is thus both new and familiar. It’s familiar because it’s an MET, sharing fundamental properties with previous METs. AI marks the emergence of more powerful predictors formed through new symbiotic partnerships among pre-existing entities – human and electronic.",[12381],{"type":290},{},{"nodeType":147,"value":12384,"marks":12385,"data":12388},"60",[12386,12387],{"type":290},{"type":5869},{},{"nodeType":147,"value":12390,"marks":12391,"data":12393}," This makes it neither alien to nor distinct from the larger story of evolution on Earth. I’ve made the case that AI is, by any reasonable definition, intelligent; AI is also, as Sara Walker has pointed out, just another manifestation of the long-running, dynamical, purposive, and self-perpetuating process we call ‘life’.",[12392],{"type":290},{},{"nodeType":147,"value":12395,"marks":12396,"data":12399},"61 ",[12397,12398],{"type":290},{"type":5869},{},{"nodeType":143,"data":12401,"content":12402},{},[12403],{"nodeType":147,"value":12404,"marks":12405,"data":12407},"So, is AI still a big deal? Yes. Whether we count eight, a dozen, or a few more, there just haven’t been that many METs over the last four and a half billion years, and although they’re now coming at a much greater clip, every one of them has been a big deal. This final chapter of the book attempts to make as much sense as possible, from the vantage point of the mid-2020s, of what this AI transition will be like and what lies on the other side. What will become newly possible, and what might it mean at planetary scale? Will there be winners and losers? What will endure, and what will likely change? What new vulnerabilities and risks, like those of an EMP, will we be exposed to? Will humanity survive? ",[12406],{"type":290},{},{"nodeType":143,"data":12409,"content":12410},{},[12411,12416,12422],{"nodeType":147,"value":12412,"marks":12413,"data":12415},"Keep in mind, though, that none of this should be framed in terms of some future AGI or ASI threshold; we already have general AI models, and humanity is already collectively superintelligent. Individual humans are only smart-ish. A random urbanite is unlikely to be a great artist or prover of theorems; probably won’t know how to hunt game or break open a coconut; and, in fact, probably won’t even know how coffeemakers or flush toilets work. Individually, we live with the illusion of being brilliant inventors, builders, discoverers, and creators. In reality, these achievements are all collective.",[12414],{"type":290},{},{"nodeType":147,"value":12417,"marks":12418,"data":12421},"62",[12419,12420],{"type":290},{"type":5869},{},{"nodeType":147,"value":12423,"marks":12424,"data":12426}," Pretrained AI models are, by construction, compressed distillations of precisely that collective intelligence. (Feel free to ask any of them about game hunting, coconut-opening, or flush toilets.) Hence, whether or not AIs are ‘like’ individual human people, they are human intelligence. ",[12425],{"type":290},{},{"nodeType":143,"data":12428,"content":12429},{},[12430],{"nodeType":147,"value":12431,"marks":12432,"data":12435},"[from Chapter 10] ",[12433,12434],{"type":808},{"type":290},{},{"nodeType":143,"data":12437,"content":12438},{},[12439],{"nodeType":147,"value":219,"marks":12440,"data":12443},[12441,12442],{"type":808},{"type":290},{},{"nodeType":6423,"data":12445,"content":12446},{},[12447],{"nodeType":147,"value":12448,"marks":12449,"data":12450},"1 Holloway 2023; Agrawal, Gans, and Goldfarb 2024. A few recent books I find compelling but that claim AI is not ‘real’ include Godfrey-Smith 2020; Seth 2021; Smith-Ruiu 2022; Christiansen and Chater 2022; Lane 2022; Humphrey 2023; M. Bennett 2023; K. J. Mitchell 2023; Mollick 2024. ",[],{},{"nodeType":143,"data":12452,"content":12453},{},[12454],{"nodeType":147,"value":219,"marks":12455,"data":12456},[],{},{"nodeType":6423,"data":12458,"content":12459},{},[12460],{"nodeType":147,"value":12461,"marks":12462,"data":12463},"2 Feigenbaum and Feldman 1963. ",[],{},{"nodeType":143,"data":12465,"content":12466},{},[12467],{"nodeType":147,"value":219,"marks":12468,"data":12469},[],{},{"nodeType":6423,"data":12471,"content":12472},{},[12473],{"nodeType":147,"value":12474,"marks":12475,"data":12476},"3 See von Helmholtz 1925, though as always when it comes to intellectual priority, an argument can be made that it goes back earlier – here, for instance, to Immanuel Kant. A modern, more mathematical articulation of the prediction principle was proposed by the early cyberneticists, as will be discussed in ‘Behavior, Purpose, and Teleology’, chapter 3; see Rosenblueth, Wiener, and Bigelow 1943. ",[],{},{"nodeType":143,"data":12478,"content":12479},{},[12480],{"nodeType":147,"value":219,"marks":12481,"data":12482},[],{},{"nodeType":6423,"data":12484,"content":12485},{},[12486],{"nodeType":147,"value":12487,"marks":12488,"data":12489},"4 Dayan et al. 1995; Rao 2024. ",[],{},{"nodeType":143,"data":12491,"content":12492},{},[12493],{"nodeType":147,"value":219,"marks":12494,"data":12495},[],{},{"nodeType":6423,"data":12497,"content":12498},{},[12499],{"nodeType":147,"value":12500,"marks":12501,"data":12502},"5 Anil Seth and Andy Clark have also made a vigorous case for prediction as fundamental to intelligence, though their books don’t explicitly make the connection to predictive modelling in AI; Seth 2021; A. Clark 2023. ",[],{},{"nodeType":143,"data":12504,"content":12505},{},[12506],{"nodeType":147,"value":219,"marks":12507,"data":12508},[],{},{"nodeType":6423,"data":12510,"content":12511},{},[12512],{"nodeType":147,"value":12513,"marks":12514,"data":12515},"6 A computational position held by Alan Turing and John von Neumann emphasising that what something 'is' is defined by what it does, which can be independent of implementation, hence multiply realisable; the corresponding philosophical perspective, championed by Hillary Putnam and others, conceives mental states in terms of their role in a system or their behavioral effects, thus opening the possibility that different kinds of systems, including non-bi- ological ones, could manifest the same types of mental states. ",[],{},{"nodeType":143,"data":12517,"content":12518},{},[12519],{"nodeType":147,"value":219,"marks":12520,"data":12521},[],{},{"nodeType":6423,"data":12523,"content":12524},{},[12525],{"nodeType":147,"value":12526,"marks":12527,"data":12528},"7 For more technical treatments of functions as described in this book, see Fontana 1990; Wong et al. 2023. ",[],{},{"nodeType":143,"data":12530,"content":12531},{},[12532],{"nodeType":147,"value":219,"marks":12533,"data":12534},[],{},{"nodeType":6423,"data":12536,"content":12537},{},[12538],{"nodeType":147,"value":12539,"marks":12540,"data":12541},"8 Computing pioneer Alan Turing anticipated this dilemma as far back as his classic 1950 paper ‘Computing Machinery and Intelligence’, one of the founding documents of what we now call AI (Turing 1950). He concluded that the appearance of intelligence under human questioning and the reality of intelligence could not justifiably be separated; sustained and successful ‘imitation’ was the real thing. Hence the ‘Imitation Game’, now called the ‘Turing Test’ in his honour. ",[],{},{"nodeType":143,"data":12543,"content":12544},{},[12545],{"nodeType":147,"value":219,"marks":12546,"data":12547},[],{},{"nodeType":6423,"data":12549,"content":12550},{},[12551],{"nodeType":147,"value":12552,"marks":12553,"data":12554},"9 Ellington 2010. ",[],{},{"nodeType":143,"data":12556,"content":12557},{},[12558],{"nodeType":147,"value":219,"marks":12559,"data":12560},[],{},{"nodeType":6423,"data":12562,"content":12563},{},[12564],{"nodeType":147,"value":12565,"marks":12566,"data":12567},"10 Walker 2024. ",[],{},{"nodeType":143,"data":12569,"content":12570},{},[12571],{"nodeType":147,"value":219,"marks":12572,"data":12573},[],{},{"nodeType":6423,"data":12575,"content":12576},{},[12577],{"nodeType":147,"value":12578,"marks":12579,"data":12580},"11 Walker 2024. ",[],{},{"nodeType":143,"data":12582,"content":12583},{},[12584],{"nodeType":147,"value":219,"marks":12585,"data":12586},[],{},{"nodeType":6423,"data":12588,"content":12589},{},[12590],{"nodeType":147,"value":12591,"marks":12592,"data":12593},"12 A substance that computes with massive parallelism; the term was originally coined in the 1980s by physicist and computer scientist Norman Margolus to describe a hypothetical material optimised at the atomic or molecular level to perform computation as efficiently as the laws of physics allow, though I use it more broadly to describe the organised, computational state of matter characterising life. ",[],{},{"nodeType":143,"data":12595,"content":12596},{},[12597],{"nodeType":147,"value":219,"marks":12598,"data":12599},[],{},{"nodeType":6423,"data":12601,"content":12602},{},[12603],{"nodeType":147,"value":12604,"marks":12605,"data":12606},"13 Used to describe systems that cycle through a loop of states (in dynamical systems theory, a stable limit cycle), thus preserving their identity through time even though they are in constant flux; typical of living systems. ",[],{},{"nodeType":143,"data":12608,"content":12609},{},[12610],{"nodeType":147,"value":219,"marks":12611,"data":12612},[],{},{"nodeType":6423,"data":12614,"content":12615},{},[12616],{"nodeType":147,"value":12617,"marks":12618,"data":12619},"14 bff refers to a particular version of 'an esoteric programming language invented thirty years earlier by a Swiss physics student and amateur juggler, Urban Müller.' ",[],{},{"nodeType":143,"data":12621,"content":12622},{},[12623],{"nodeType":147,"value":219,"marks":12624,"data":12625},[],{},{"nodeType":6423,"data":12627,"content":12628},{},[12629],{"nodeType":147,"value":12630,"marks":12631,"data":12632},"15 Computer viruses are a notable exception. ",[],{},{"nodeType":143,"data":12634,"content":12635},{},[12636],{"nodeType":147,"value":219,"marks":12637,"data":12638},[],{},{"nodeType":6423,"data":12640,"content":12641},{},[12642],{"nodeType":147,"value":12643,"marks":12644,"data":12645},"16 The case for technology being an evolutionary product of hierarchically composed functions is thoughtfully made, with many examples, by Arthur 2010. ",[],{},{"nodeType":143,"data":12647,"content":12648},{},[12649],{"nodeType":147,"value":219,"marks":12650,"data":12651},[],{},{"nodeType":6423,"data":12653,"content":12654},{},[12655],{"nodeType":147,"value":12656,"marks":12657,"data":12658},"17 As astronomer Robert Jastrow put it, ‘We are the reproductive organs of the computer’ (Jastrow 1981); the same holds for technology in general. Samuel Butler made this case in a visionary 1863 essay entitled ‘Darwin Among the Machines’, a perspective revisited and updated at the end of the twentieth century by science historian George Dyson; Butler 1863; G. Dyson 1998. ",[],{},{"nodeType":143,"data":12660,"content":12661},{},[12662],{"nodeType":147,"value":219,"marks":12663,"data":12664},[],{},{"nodeType":6423,"data":12666,"content":12667},{},[12668],{"nodeType":147,"value":12669,"marks":12670,"data":12671},"18 J. Bennett 2010. ",[],{},{"nodeType":143,"data":12673,"content":12674},{},[12675],{"nodeType":147,"value":219,"marks":12676,"data":12677},[],{},{"nodeType":6423,"data":12679,"content":12680},{},[12681],{"nodeType":147,"value":12682,"marks":12683,"data":12684},"19 Lovejoy 1936. ",[],{},{"nodeType":143,"data":12686,"content":12687},{},[12688],{"nodeType":147,"value":219,"marks":12689,"data":12690},[],{},{"nodeType":6423,"data":12692,"content":12693},{},[12694],{"nodeType":147,"value":12695,"marks":12696,"data":12697},"20 Enfield 2024. ",[],{},{"nodeType":143,"data":12699,"content":12700},{},[12701],{"nodeType":147,"value":219,"marks":12702,"data":12703},[],{},{"nodeType":6423,"data":12705,"content":12706},{},[12707],{"nodeType":147,"value":12708,"marks":12709,"data":12710},"21 Kimmerer 2013. ",[],{},{"nodeType":143,"data":12712,"content":12713},{},[12714],{"nodeType":147,"value":219,"marks":12715,"data":12716},[],{},{"nodeType":6423,"data":12718,"content":12719},{},[12720],{"nodeType":147,"value":12721,"marks":12722,"data":12723},"22 Schrödinger 1944. ",[],{},{"nodeType":143,"data":12725,"content":12726},{},[12727],{"nodeType":147,"value":219,"marks":12728,"data":12729},[],{},{"nodeType":6423,"data":12731,"content":12732},{},[12733],{"nodeType":147,"value":12734,"marks":12735,"data":12736},"23 Thomas 1934. ",[],{},{"nodeType":143,"data":12738,"content":12739},{},[12740],{"nodeType":147,"value":219,"marks":12741,"data":12742},[],{},{"nodeType":6423,"data":12744,"content":12745},{},[12746],{"nodeType":147,"value":12747,"marks":12748,"data":12749},"24 Charles Babbage was a 19th-century British mathematician, philosopher, and inventor who is often called the ‘father of the computer’. ",[],{},{"nodeType":143,"data":12751,"content":12752},{},[12753],{"nodeType":147,"value":219,"marks":12754,"data":12755},[],{},{"nodeType":6423,"data":12757,"content":12758},{},[12759],{"nodeType":147,"value":12760,"marks":12761,"data":12762},"25 Babbage 1864. ",[],{},{"nodeType":143,"data":12764,"content":12765},{},[12766],{"nodeType":147,"value":219,"marks":12767,"data":12768},[],{},{"nodeType":6423,"data":12770,"content":12771},{},[12772],{"nodeType":147,"value":12773,"marks":12774,"data":12775},"26 Scott 1998; Soll 2011. ",[],{},{"nodeType":143,"data":12777,"content":12778},{},[12779],{"nodeType":147,"value":219,"marks":12780,"data":12781},[],{},{"nodeType":6423,"data":12783,"content":12784},{},[12785],{"nodeType":147,"value":12786,"marks":12787,"data":12788},"27 They were: Kay McNulty, Betty Snyder, Marlyn Wescoff, Ruth Lichterman, Betty Jean Jennings, and Fran Bilas. Fritz 1996; Light 1999. ",[],{},{"nodeType":143,"data":12790,"content":12791},{},[12792],{"nodeType":147,"value":219,"marks":12793,"data":12794},[],{},{"nodeType":6423,"data":12796,"content":12797},{},[12798],{"nodeType":147,"value":12799,"marks":12800,"data":12801},"28 Typically of ‘firsts’, there are other contenders. Working in relative isolation, Konrad Zuse, a German civil engineer, completed his electromechanical Z3 computer in 1941. Zuse’s project was also motivated by war; his earlier S1 and S2 were special-purpose machines for computing aerodynamic corrections to the wings of radio-controlled flying bombs, and after 1939 he was funded by the Nazi government. While Zuse didn’t design the Z3 with Turing completeness in mind, and it didn’t natively support conditional jumps, it can be programmed cleverly to simulate them. This arguably gives the Z3 priority over the ENIAC, per Rojas 1998. ",[],{},{"nodeType":143,"data":12803,"content":12804},{},[12805],{"nodeType":147,"value":219,"marks":12806,"data":12807},[],{},{"nodeType":6423,"data":12809,"content":12810},{},[12811],{"nodeType":147,"value":12812,"marks":12813,"data":12814},"29 Fitzpatrick 1998. ",[],{},{"nodeType":143,"data":12816,"content":12817},{},[12818],{"nodeType":147,"value":219,"marks":12819,"data":12820},[],{},{"nodeType":6423,"data":12822,"content":12823},{},[12824],{"nodeType":147,"value":12825,"marks":12826,"data":12827},"30 G. E. Moore 1965; Schaller 1997. ",[],{},{"nodeType":143,"data":12829,"content":12830},{},[12831],{"nodeType":147,"value":219,"marks":12832,"data":12833},[],{},{"nodeType":6423,"data":12835,"content":12836},{},[12837],{"nodeType":147,"value":12838,"marks":12839,"data":12840},"31 IBM 2007. ",[],{},{"nodeType":143,"data":12842,"content":12843},{},[12844],{"nodeType":147,"value":219,"marks":12845,"data":12846},[],{},{"nodeType":6423,"data":12848,"content":12849},{},[12850],{"nodeType":147,"value":12851,"marks":12852,"data":12853},"32 Renting the 701 in 1952 cost between $12,000 and $18,000 per month. IBM 2007. ",[],{},{"nodeType":143,"data":12855,"content":12856},{},[12857],{"nodeType":147,"value":219,"marks":12858,"data":12859},[],{},{"nodeType":6423,"data":12861,"content":12862},{},[12863],{"nodeType":147,"value":12864,"marks":12865,"data":12866},"33 Waldrop 2018. ",[],{},{"nodeType":143,"data":12868,"content":12869},{},[12870],{"nodeType":147,"value":219,"marks":12871,"data":12872},[],{},{"nodeType":6423,"data":12874,"content":12875},{},[12876],{"nodeType":147,"value":12877,"marks":12878,"data":12879},"34 De Monchaux 2011. ",[],{},{"nodeType":143,"data":12881,"content":12882},{},[12883],{"nodeType":147,"value":219,"marks":12884,"data":12885},[],{},{"nodeType":6423,"data":12887,"content":12888},{},[12889],{"nodeType":147,"value":12890,"marks":12891,"data":12892},"35 The ability to attribute mental states like beliefs, intents, desires, emotions, knowledge, etc., to oneself and others and to understand that others have beliefs, desires, emotions, and knowledge that are different from one’s own. ",[],{},{"nodeType":143,"data":12894,"content":12895},{},[12896],{"nodeType":147,"value":219,"marks":12897,"data":12898},[],{},{"nodeType":6423,"data":12900,"content":12901},{},[12902],{"nodeType":147,"value":12903,"marks":12904,"data":12905},"36 Humphrey 1976. ",[],{},{"nodeType":143,"data":12907,"content":12908},{},[12909],{"nodeType":147,"value":219,"marks":12910,"data":12911},[],{},{"nodeType":6423,"data":12913,"content":12914},{},[12915],{"nodeType":147,"value":12916,"marks":12917,"data":12918},"37 The basic idea had been floated by other researchers in the 1950s (Chance and Mead 1953) and again in the ’60s (Jolly 1966), though to less effect. ",[],{},{"nodeType":143,"data":12920,"content":12921},{},[12922],{"nodeType":147,"value":219,"marks":12923,"data":12924},[],{},{"nodeType":6423,"data":12926,"content":12927},{},[12928],{"nodeType":147,"value":12929,"marks":12930,"data":12931},"38 Whiten and Byrne 1997; de Waal 2007. ",[],{},{"nodeType":143,"data":12933,"content":12934},{},[12935],{"nodeType":147,"value":219,"marks":12936,"data":12937},[],{},{"nodeType":6423,"data":12939,"content":12940},{},[12941],{"nodeType":147,"value":12942,"marks":12943,"data":12944},"39 Dunbar 1998. ",[],{},{"nodeType":143,"data":12946,"content":12947},{},[12948],{"nodeType":147,"value":219,"marks":12949,"data":12950},[],{},{"nodeType":6423,"data":12952,"content":12953},{},[12954],{"nodeType":147,"value":12955,"marks":12956,"data":12957},"40 Sarah Blaffer Hrdy has convincingly argued that, among humans and certain other brainy species, it ‘takes a village’ to raise an infant, in the sense that the mother alone can’t provide all the needed calories; the grandparents, siblings, and babysitters who help out are called ‘alloparents’. In alloparental species, prospective mothers without the needed social support disproportionately elect infanticide or, among humans, abortion. If they do have the baby, its odds of survival increase appreciably with alloparental help; Hrdy 2009. ",[],{},{"nodeType":143,"data":12959,"content":12960},{},[12961],{"nodeType":147,"value":219,"marks":12962,"data":12963},[],{},{"nodeType":6423,"data":12965,"content":12966},{},[12967],{"nodeType":147,"value":12968,"marks":12969,"data":12970},"41 Pawłowski, Lowen, and Dunbar 1998; Holt-Lunstad et al. 2015. ",[],{},{"nodeType":143,"data":12972,"content":12973},{},[12974],{"nodeType":147,"value":219,"marks":12975,"data":12976},[],{},{"nodeType":6423,"data":12978,"content":12979},{},[12980],{"nodeType":147,"value":12981,"marks":12982,"data":12983},"42 Powell et al. 2012. ",[],{},{"nodeType":143,"data":12985,"content":12986},{},[12987],{"nodeType":147,"value":219,"marks":12988,"data":12989},[],{},{"nodeType":6423,"data":12991,"content":12992},{},[12993],{"nodeType":147,"value":12994,"marks":12995,"data":12996},"43 There’s likely no sharp boundary between general skills and specific knowledge, in this or any other domain, because every specific thing you learn is represented in terms of your existing conceptual vocabulary, and in turn extends that vocabulary. One can think of it almost like a compression algorithm, in which one’s experiences so far make up the ‘dictionary’ with which subsequent knowledge and experiences are compressed. This may (at least partly) explain why time seems to pass more quickly as we age: we’re compressing our life experiences more efficiently – alas. ",[],{},{"nodeType":143,"data":12998,"content":12999},{},[13000],{"nodeType":147,"value":219,"marks":13001,"data":13002},[],{},{"nodeType":6423,"data":13004,"content":13005},{},[13006],{"nodeType":147,"value":13007,"marks":13008,"data":13009},"44 Street et al. 2024. ",[],{},{"nodeType":143,"data":13011,"content":13012},{},[13013],{"nodeType":147,"value":219,"marks":13014,"data":13015},[],{},{"nodeType":6423,"data":13017,"content":13018},{},[13019],{"nodeType":147,"value":13020,"marks":13021,"data":13022},"45 Dunbar 1992. ",[],{},{"nodeType":143,"data":13024,"content":13025},{},[13026],{"nodeType":147,"value":219,"marks":13027,"data":13028},[],{},{"nodeType":6423,"data":13030,"content":13031},{},[13032],{"nodeType":147,"value":13033,"marks":13034,"data":13035},"46 Dunbar 2016. ",[],{},{"nodeType":143,"data":13037,"content":13038},{},[13039],{"nodeType":147,"value":219,"marks":13040,"data":13041},[],{},{"nodeType":6423,"data":13043,"content":13044},{},[13045],{"nodeType":147,"value":13046,"marks":13047,"data":13048},"47 Gopnik and Meltzoff 1993; Ziv et al. 2016. ",[],{},{"nodeType":143,"data":13050,"content":13051},{},[13052],{"nodeType":147,"value":219,"marks":13053,"data":13054},[],{},{"nodeType":6423,"data":13056,"content":13057},{},[13058],{"nodeType":147,"value":13059,"marks":13060,"data":13061},"48 Muthukrishna et al. 2014. ",[],{},{"nodeType":143,"data":13063,"content":13064},{},[13065],{"nodeType":147,"value":219,"marks":13066,"data":13067},[],{},{"nodeType":6423,"data":13069,"content":13070},{},[13071],{"nodeType":147,"value":13072,"marks":13073,"data":13074},"49 A key point in the evolution of life that results in a significant increase in complexity through symbiotic inter-dependence, such as the shift from single-celled to multicellular organisms, or from asexual to sexual reproduction; proposed by biologists John Maynard Smith and Eörs Szathmáry. ",[],{},{"nodeType":143,"data":13076,"content":13077},{},[13078],{"nodeType":147,"value":219,"marks":13079,"data":13080},[],{},{"nodeType":6423,"data":13082,"content":13083},{},[13084],{"nodeType":147,"value":13085,"marks":13086,"data":13087},"50 Szathmáry and Smith 1995. ",[],{},{"nodeType":143,"data":13089,"content":13090},{},[13091],{"nodeType":147,"value":219,"marks":13092,"data":13093},[],{},{"nodeType":6423,"data":13095,"content":13096},{},[13097],{"nodeType":147,"value":13098,"marks":13099,"data":13100},"51 M. Bennett 2023. ",[],{},{"nodeType":143,"data":13102,"content":13103},{},[13104],{"nodeType":147,"value":219,"marks":13105,"data":13106},[],{},{"nodeType":6423,"data":13108,"content":13109},{},[13110],{"nodeType":147,"value":13111,"marks":13112,"data":13113},"52 Colapinto 2007. ",[],{},{"nodeType":143,"data":13115,"content":13116},{},[13117],{"nodeType":147,"value":219,"marks":13118,"data":13119},[],{},{"nodeType":6423,"data":13121,"content":13122},{},[13123],{"nodeType":147,"value":13124,"marks":13125,"data":13126},"53 Marx and Engels 1888 [1848]. ",[],{},{"nodeType":143,"data":13128,"content":13129},{},[13130],{"nodeType":147,"value":219,"marks":13131,"data":13132},[],{},{"nodeType":6423,"data":13134,"content":13135},{},[13136],{"nodeType":147,"value":13137,"marks":13138,"data":13139},"54 Recall that the first application of Newcomen’s steam engine was pumping the water out of a flooded coal mine; today, mining is highly automated, and the machines that do most of the physical work are fuel-powered. ",[],{},{"nodeType":143,"data":13141,"content":13142},{},[13143],{"nodeType":147,"value":219,"marks":13144,"data":13145},[],{},{"nodeType":6423,"data":13147,"content":13148},{},[13149],{"nodeType":147,"value":13150,"marks":13151,"data":13152},"55 Hong Liangji (洪亮吉) 1793; Malthus 1798; Agüera y Arcas 2023. ",[],{},{"nodeType":143,"data":13154,"content":13155},{},[13156],{"nodeType":147,"value":219,"marks":13157,"data":13158},[],{},{"nodeType":6423,"data":13160,"content":13161},{},[13162],{"nodeType":147,"value":13163,"marks":13164,"data":13165},"56 Since the turn of the twenty-first century, some commentators have, in rapid succession, declared third and fourth Industrial Revolutions relating to computers, 3D printing, remote sensing, the Internet of Things, and vari- ous other developments; Rifkin 2008; Schwab 2017. While all of these technologies and many more have indeed been transformative (we could add, for instance, container ships, cellular networks, and high-frequency financial trading), none meet the MET criteria. I believe that AI will soon meet that bar, though it seems a misnomer to place it under the industrial paradigm by calling it yet another ‘Industrial Revolution’. ",[],{},{"nodeType":143,"data":13167,"content":13168},{},[13169],{"nodeType":147,"value":219,"marks":13170,"data":13171},[],{},{"nodeType":6423,"data":13173,"content":13174},{},[13175],{"nodeType":147,"value":13176,"marks":13177,"data":13178},"57 Ehrlich 1968; Meadows et al. 1972. ",[],{},{"nodeType":143,"data":13180,"content":13181},{},[13182],{"nodeType":147,"value":219,"marks":13183,"data":13184},[],{},{"nodeType":6423,"data":13186,"content":13187},{},[13188],{"nodeType":147,"value":13189,"marks":13190,"data":13191},"58 Jacobsen 2024. ",[],{},{"nodeType":143,"data":13193,"content":13194},{},[13195],{"nodeType":147,"value":219,"marks":13196,"data":13197},[],{},{"nodeType":6423,"data":13199,"content":13200},{},[13201],{"nodeType":147,"value":13202,"marks":13203,"data":13204},"59 This account focuses on prediction rather than energy (as with the first Industrial Revolution), though predic- tion, computation, and energy are all related at a deep level. We have far to go in making AI models more energy-efficient, but it’s notable that even today, AI models may be more energy-efficient than brains simply due to the speed with which they operate; Tomlinson et al. 2024. ",[],{},{"nodeType":143,"data":13206,"content":13207},{},[13208],{"nodeType":147,"value":219,"marks":13209,"data":13210},[],{},{"nodeType":6423,"data":13212,"content":13213},{},[13214],{"nodeType":147,"value":13215,"marks":13216,"data":13217},"60 Computing pioneer J. C. R. Licklider was among the first to foresee what he called ‘man-computer symbiosis’; Licklider 1960. ",[],{},{"nodeType":143,"data":13219,"content":13220},{},[13221],{"nodeType":147,"value":219,"marks":13222,"data":13223},[],{},{"nodeType":6423,"data":13225,"content":13226},{},[13227],{"nodeType":147,"value":13228,"marks":13229,"data":13230},"61 Walker 2023. 62 Sloman and Fernbach 2018. 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A Crisis of Coherence ",{"data":13357,"content":13358,"nodeType":143},{},[13359],{"data":13360,"marks":13361,"value":13362,"nodeType":147},{},[],"In an age of profound technological and economic upheaval, it is sometimes tempting to retreat into despair, nostalgia, or grief. Yet if alternate pathways of planetary and societal evolution are possible, imagination may be our first step towards reaching them. Imagination does not arrive ready-made: in the hands of artists, it takes the form of disruptions and revelations, exposing what dominant systems conceal. Through form, narrative, and non-conceptual space – where experience exceeds language – we surface fragile alternatives, glimpses of what could be. Only by imagining differently can we begin to build differently. ",{"data":13364,"content":13405,"nodeType":5945},{"target":13365},{"metadata":13366,"sys":13369,"fields":13378},{"tags":13367,"concepts":13368},[],[],{"space":13370,"id":13372,"type":18,"createdAt":13373,"updatedAt":13373,"environment":13374,"publishedVersion":51,"revision":216,"contentType":13376,"locale":31},{"sys":13371},{"type":14,"linkType":15,"id":16},"1ur1gMLl6UTWWdcza8O2aJ","2026-01-07T13:23:40.806Z",{"sys":13375},{"id":23,"type":14,"linkType":24},{"sys":13377},{"type":14,"linkType":29,"id":5961},{"name":13379,"images":13380,"visibility":5987,"galleryFormat":5988,"gallerySize":5989,"gridColumns":5866,"gridSpacing":5990,"scrollImageSize":5989,"imageOptions":13404},"There Exists Another Evolution 1",[13381],{"metadata":13382,"sys":13385,"fields":13393},{"tags":13383,"concepts":13384},[],[],{"space":13386,"id":13388,"type":212,"createdAt":13389,"updatedAt":13390,"environment":13391,"publishedVersion":71,"revision":91,"locale":31},{"sys":13387},{"type":14,"linkType":15,"id":16},"6L31qNvz5P0ihrZrlR6tGn","2026-01-07T12:33:42.776Z","2026-01-07T13:23:29.116Z",{"sys":13392},{"id":23,"type":14,"linkType":24},{"title":13394,"description":13395,"file":13396},"images-114","Anicka Yi, _In Love With The World_, 2021. Installation view, commissioned for the Hyundai Commission, Turbine Hall, Tate Modern, London. © Tate 2021. © Anicka Yi \u002F Artists Rights Society (ARS), NY. Courtesy of the artist and Tate. Photography by Will Burrard-Lucas",{"url":13397,"details":13398,"fileName":13403,"contentType":228},"\u002F\u002Fimages.ctfassets.net\u002F2urh0izv0sep\u002F6L31qNvz5P0ihrZrlR6tGn\u002F38dd2a2b64b9484451b7c4d4faa6648d\u002Fimages-114.png",{"size":13399,"image":13400},5934959,{"width":13401,"height":13402},3678,2265,"images-114.png",[4640],[],{"data":13407,"content":13408,"nodeType":143},{},[13409,13413,13417],{"data":13410,"marks":13411,"value":13412,"nodeType":147},{},[],"This call is not a luxury but a necessity, for the accelerating pace of change has begun to outstrip the very concepts that once anchored our world. Chief among them is the Enlightenment ideal of the rational, self-governing individual as the pinnacle of progress.",{"data":13414,"marks":13415,"value":6039,"nodeType":147},{},[13416],{"type":5869},{"data":13418,"marks":13419,"value":13420,"nodeType":147},{},[]," That figure now feels increasingly obsolete in a world defined by interdependence and complexity. As the notion of autonomous rational actors dissolves, in its place circulate digital selves that are extracted, flattened, and commodified. Algorithms replicate these avatars endlessly, privileging optimisation over understanding – nuance, contradiction, and depth are stripped away in favour of whatever can be calculated, ranked, and sold.",{"data":13422,"content":13423,"nodeType":143},{},[13424,13428,13432,13436,13440],{"data":13425,"marks":13426,"value":13427,"nodeType":147},{},[],"This misalignment between human and machine goals is not accidental but by design: digital technologies were built less to liberate than to manage, surveil, and control.",{"data":13429,"marks":13430,"value":6183,"nodeType":147},{},[13431],{"type":5869},{"data":13433,"marks":13434,"value":13435,"nodeType":147},{},[]," As Michel Foucault observed of the panopticon, surveillance produces a state of conscious and permanent visibility, ensuring the automatic functioning of power",{"data":13437,"marks":13438,"value":6208,"nodeType":147},{},[13439],{"type":5869},{"data":13441,"marks":13442,"value":13443,"nodeType":147},{},[],"; ‘visibility is a trap’. Today that logic re-emerges in algorithmic governance: data extracted at scale, individuals monitored, profiled, and subtly moulded in ways that are often imperceptible.",{"data":13445,"content":13486,"nodeType":5945},{"target":13446},{"metadata":13447,"sys":13450,"fields":13459},{"tags":13448,"concepts":13449},[],[],{"space":13451,"id":13453,"type":18,"createdAt":13454,"updatedAt":13454,"environment":13455,"publishedVersion":91,"revision":216,"contentType":13457,"locale":31},{"sys":13452},{"type":14,"linkType":15,"id":16},"7AhtA6Z5nzSudcdcfBbUZF","2026-01-07T13:27:36.647Z",{"sys":13456},{"id":23,"type":14,"linkType":24},{"sys":13458},{"type":14,"linkType":29,"id":5961},{"name":13460,"images":13461,"visibility":5987,"galleryFormat":5988,"gallerySize":7569,"gridColumns":5866,"gridSpacing":5990,"scrollImageSize":5989,"imageOptions":13485},"There Exists Another Evolution 2",[13462],{"metadata":13463,"sys":13466,"fields":13474},{"tags":13464,"concepts":13465},[],[],{"space":13467,"id":13469,"type":212,"createdAt":13470,"updatedAt":13471,"environment":13472,"publishedVersion":26,"revision":1123,"locale":31},{"sys":13468},{"type":14,"linkType":15,"id":16},"7tJmzHzie6J7ALNK3Mduc6","2026-01-07T12:33:42.747Z","2026-01-07T13:26:44.204Z",{"sys":13473},{"id":23,"type":14,"linkType":24},{"title":13475,"description":13476,"file":13477},"images-115","Anicka Yi, _Fontenelle_, 2015. © Anicka Yi \u002F Artists Rights Society (ARS), NY. Courtesy of the artist and 47 Canal, New York. Photography: Jason Mandella",{"url":13478,"details":13479,"fileName":13484,"contentType":228},"\u002F\u002Fimages.ctfassets.net\u002F2urh0izv0sep\u002F7tJmzHzie6J7ALNK3Mduc6\u002F4e4a415c3f901a177c4f3c0dca55cfaa\u002Fimages-115.png",{"size":13480,"image":13481},1344936,{"width":13482,"height":13483},948,753,"images-115.png",[4640],[],{"data":13488,"content":13489,"nodeType":143},{},[13490],{"data":13491,"marks":13492,"value":13493,"nodeType":147},{},[],"Yet this trajectory was never inevitable, for machines were once imagined differently. They were meant to help us become better beings, to expand our capacities rather than constrain them. Early visions cast technology as a liberating force, even as a spiritual proxy for our ideal selves, mechanical embodiments of qualities we longed for but struggled to realise. That aspiration has given way. Today the dominant paradigm is not liberation but control: the drive to optimise and neutralise uncertainty. Contemporary machines, governed by algorithms, aim to minimise risk and regulate behaviour. Rather than nurturing ambiguity, they compress it into categories and metrics. Rather than embracing difference, they standardise. The machine ceases to mirror our highest ideals and becomes instead an instrument of efficiency, a tool for securing order. ",{"data":13495,"content":13496,"nodeType":143},{},[13497],{"data":13498,"marks":13499,"value":13500,"nodeType":147},{},[],"To navigate this reality, we need more than critique – we need imagination. We must reclaim agency and rebuild systems grounded in empathy, complexity, and care. ",{"data":13502,"content":13542,"nodeType":5945},{"target":13503},{"metadata":13504,"sys":13507,"fields":13516},{"tags":13505,"concepts":13506},[],[],{"space":13508,"id":13510,"type":18,"createdAt":13511,"updatedAt":13511,"environment":13512,"publishedVersion":91,"revision":216,"contentType":13514,"locale":31},{"sys":13509},{"type":14,"linkType":15,"id":16},"1XhnRTOEU8Z5u2MQs1edjj","2026-01-07T13:39:42.773Z",{"sys":13513},{"id":23,"type":14,"linkType":24},{"sys":13515},{"type":14,"linkType":29,"id":5961},{"name":13517,"images":13518,"visibility":5987,"galleryFormat":5988,"gallerySize":7569,"gridColumns":5866,"gridSpacing":5990,"scrollImageSize":5989,"imageOptions":13541},"There Exists Another Evolution 3",[13519],{"metadata":13520,"sys":13523,"fields":13531},{"tags":13521,"concepts":13522},[],[],{"space":13524,"id":13526,"type":212,"createdAt":13527,"updatedAt":13528,"environment":13529,"publishedVersion":26,"revision":1123,"locale":31},{"sys":13525},{"type":14,"linkType":15,"id":16},"2WBA0EA2bpHFJBikgvIs0v","2026-01-07T12:33:42.769Z","2026-01-07T13:31:09.225Z",{"sys":13530},{"id":23,"type":14,"linkType":24},{"title":13532,"description":13476,"file":13533},"images-116",{"url":13534,"details":13535,"fileName":13540,"contentType":228},"\u002F\u002Fimages.ctfassets.net\u002F2urh0izv0sep\u002F2WBA0EA2bpHFJBikgvIs0v\u002F5a32fa98bb052fec8dc10f932cab0f76\u002Fimages-116.png",{"size":13536,"image":13537},6658617,{"width":13538,"height":13539},1789,2384,"images-116.png",[4640],[],{"data":13544,"content":13545,"nodeType":143},{},[13546,13550,13555,13559],{"data":13547,"marks":13548,"value":13549,"nodeType":147},{},[],"Artificial intelligence is one of the most urgent sites for this reimagining, yet it does not emerge in a vacuum. It unfolds in a world already destabilised by inequality, climate collapse, and institutional decay. In ",{"data":13551,"marks":13552,"value":13554,"nodeType":147},{},[13553],{"type":808},"Atlas of AI",{"data":13556,"marks":13557,"value":13558,"nodeType":147},{},[],", the scholar Kate Crawford shows how its infrastructures are inseparable from planetary extraction and labour exploitation – from vast radioactive tailings lakes of rare earth mining in Inner Mongolia to the precarious labour of thousands of data workers in Venezuela and the Philippines, as well as a Google data centre in Oklahoma that consumes millions of gallons of water each day in drought-stricken communities. These infrastructures do not open space for genuine alternatives; they embed the values of the systems that produced them.",{"data":13560,"marks":13561,"value":13563,"nodeType":147},{},[13562],{"type":5869},"6 ",{"data":13565,"content":13566,"nodeType":143},{},[13567],{"data":13568,"marks":13569,"value":13570,"nodeType":147},{},[],"Climate, computation, and capital are converging, but instead of clarity, this convergence deepens disorientation. The ‘smart’ systems we build – from predictive policing algorithms and automated credit scoring to high-frequency trading platforms and military drones – are not designed for connection or curiosity, but for control: to manage risk and maximise return. They do not serve everyone. They serve a narrow and elite group of technologists, financiers, defence contractors, and politicians. These industries promise innovation even as they concentrate power. ",{"data":13572,"content":13634,"nodeType":5945},{"target":13573},{"metadata":13574,"sys":13577,"fields":13586},{"tags":13575,"concepts":13576},[],[],{"space":13578,"id":13580,"type":18,"createdAt":13581,"updatedAt":13581,"environment":13582,"publishedVersion":91,"revision":216,"contentType":13584,"locale":31},{"sys":13579},{"type":14,"linkType":15,"id":16},"4pCcIWJMraCNzEWVjbrmoG","2026-01-07T14:02:49.716Z",{"sys":13583},{"id":23,"type":14,"linkType":24},{"sys":13585},{"type":14,"linkType":29,"id":5961},{"name":13587,"images":13588,"visibility":5987,"galleryFormat":5988,"gallerySize":7569,"gridColumns":5866,"gridSpacing":5990,"scrollImageSize":5989,"imageOptions":13633},"There Exists Another Evolution 4+5",[13589,13612],{"metadata":13590,"sys":13593,"fields":13601},{"tags":13591,"concepts":13592},[],[],{"space":13594,"id":13596,"type":212,"createdAt":13597,"updatedAt":13598,"environment":13599,"publishedVersion":26,"revision":1123,"locale":31},{"sys":13595},{"type":14,"linkType":15,"id":16},"3x87nvkXU8ALlUlfsl5uxv","2026-01-07T12:33:42.757Z","2026-01-07T13:41:07.948Z",{"sys":13600},{"id":23,"type":14,"linkType":24},{"title":13602,"description":13603,"file":13604},"images-117","Top and bottom: Anicka Yi, _Grabbing at Newer Vegetables_, 2015. © Anicka Yi \u002F Artists Rights Society (ARS), NY. Courtesy the artist and 47 Canal, New York. Photography: Jason Mandella",{"url":13605,"details":13606,"fileName":13611,"contentType":228},"\u002F\u002Fimages.ctfassets.net\u002F2urh0izv0sep\u002F3x87nvkXU8ALlUlfsl5uxv\u002F67a8ca2dc93f4ca887d30f66911fdfb2\u002Fimages-117.png",{"size":13607,"image":13608},1755279,{"width":13609,"height":13610},2212,1421,"images-117.png",{"metadata":13613,"sys":13616,"fields":13623},{"tags":13614,"concepts":13615},[],[],{"space":13617,"id":13619,"type":212,"createdAt":13620,"updatedAt":13620,"environment":13621,"publishedVersion":1123,"revision":216,"locale":31},{"sys":13618},{"type":14,"linkType":15,"id":16},"6knulKKdHeioqeqgKyJU8E","2026-01-07T12:33:42.751Z",{"sys":13622},{"id":23,"type":14,"linkType":24},{"title":13624,"file":13625},"images-118",{"url":13626,"details":13627,"fileName":13632,"contentType":228},"\u002F\u002Fimages.ctfassets.net\u002F2urh0izv0sep\u002F6knulKKdHeioqeqgKyJU8E\u002F23f2d69bf3113bc92b2ab22de38ae60f\u002Fimages-118.png",{"size":13628,"image":13629},2881759,{"width":13630,"height":13631},2238,1438,"images-118.png",[4640],[],{"data":13636,"content":13637,"nodeType":143},{},[13638],{"data":13639,"marks":13640,"value":13641,"nodeType":147},{},[],"We are not training machines for the world we need, but encoding them with the values of the world we already have: extraction over relation, speed over depth, efficiency over imagination. ",{"data":13643,"content":13644,"nodeType":143},{},[13645,13649,13654,13658,13662],{"data":13646,"marks":13647,"value":13648,"nodeType":147},{},[],"The story of OpenAI makes this plain. As the journalist Karen Hao shows in ",{"data":13650,"marks":13651,"value":13653,"nodeType":147},{},[13652],{"type":808},"Empire of AI",{"data":13655,"marks":13656,"value":13657,"nodeType":147},{},[],", the company became a battleground for these forces – from the dramatic ousting and reinstatement of Sam Altman, to internal clashes between advocates of AI safety and those pushing for rapid commercialisation, to its structural pivot from non-profit idealism to a venture-capital-driven capped-profit model. These struggles expose AI as a site where corporate, financial, and geopolitical power converge.",{"data":13659,"marks":13660,"value":6306,"nodeType":147},{},[13661],{"type":5869},{"data":13663,"marks":13664,"value":13665,"nodeType":147},{},[]," Denaturalising technology – tracing its labour conditions, environmental costs, and cultural effects – makes clear that AI is not inevitable, but the result of human decisions; not fate, but an ongoing choice. ",{"data":13667,"content":13668,"nodeType":143},{},[13669,13673],{"data":13670,"marks":13671,"value":13672,"nodeType":147},{},[],"This is not only a technological choice but a choice of world-building. What kind of world are we inscribing into AI – and what would it take to reorient its values towards another future? One could imagine systems that do not arrive pre-trained on harvested data, but begin fresh, learning through interaction as a newborn child or animal might encounter the world. Such machines would be companions rather than overseers – growing with us through relation, curiosity, and shared experience. Choosing other paths of machine, human, and planetary evolution could open the door to technologies attuned to care, complexity, and cohabitation – a gesture towards what the philosopher Yuk Hui calls technodiversity, the idea that there is no single universal path for technology but many, each reflecting distinct cosmologies and ways of living.",{"data":13674,"marks":13675,"value":7870,"nodeType":147},{},[13676],{"type":5869},{"data":13678,"content":13679,"nodeType":143},{},[13680],{"data":13681,"marks":13682,"value":13683,"nodeType":147},{},[],"II. Intelligence in the Age of Extraction ",{"data":13685,"content":13686,"nodeType":143},{},[13687],{"data":13688,"marks":13689,"value":13690,"nodeType":147},{},[],"If imagination opens new paths, we must also look squarely at the conditions of the present. We are told that AI is accelerating, but we rarely pause to ask: accelerating towards what, and for whom? ",{"data":13692,"content":13748,"nodeType":5945},{"target":13693},{"metadata":13694,"sys":13697,"fields":13706},{"tags":13695,"concepts":13696},[],[],{"space":13698,"id":13700,"type":18,"createdAt":13701,"updatedAt":13701,"environment":13702,"publishedVersion":26,"revision":216,"contentType":13704,"locale":31},{"sys":13699},{"type":14,"linkType":15,"id":16},"20oZkG4PRLBQLfD4A0HNT3","2026-01-07T14:05:27.186Z",{"sys":13703},{"id":23,"type":14,"linkType":24},{"sys":13705},{"type":14,"linkType":29,"id":5961},{"name":13707,"images":13708,"visibility":5987,"galleryFormat":5988,"gallerySize":7051,"gridColumns":6015,"gridSpacing":2811,"scrollImageSize":5989,"imageOptions":13747},"There Exists Another Evolution 6",[13709,13728],{"metadata":13710,"sys":13713,"fields":13720},{"tags":13711,"concepts":13712},[],[],{"space":13714,"id":13716,"type":212,"createdAt":13717,"updatedAt":13717,"environment":13718,"publishedVersion":1123,"revision":216,"locale":31},{"sys":13715},{"type":14,"linkType":15,"id":16},"6PrIogrqgV6AcV0lXPQkeR","2026-01-07T12:33:42.761Z",{"sys":13719},{"id":23,"type":14,"linkType":24},{"title":13721,"file":13722},"images-119",{"url":13723,"details":13724,"fileName":13727,"contentType":228},"\u002F\u002Fimages.ctfassets.net\u002F2urh0izv0sep\u002F6PrIogrqgV6AcV0lXPQkeR\u002F635b0ee0d985d75117ceea7be68565d9\u002Fimages-119.png",{"size":13725,"image":13726},10733946,{"width":4326,"height":4327},"images-119.png",{"metadata":13729,"sys":13732,"fields":13739},{"tags":13730,"concepts":13731},[],[],{"space":13733,"id":13735,"type":212,"createdAt":13736,"updatedAt":13736,"environment":13737,"publishedVersion":1123,"revision":216,"locale":31},{"sys":13734},{"type":14,"linkType":15,"id":16},"6QGMyOu1pyEMdbkYEyYmls","2026-01-07T12:33:42.765Z",{"sys":13738},{"id":23,"type":14,"linkType":24},{"title":13740,"file":13741},"images-120",{"url":13742,"details":13743,"fileName":13746,"contentType":228},"\u002F\u002Fimages.ctfassets.net\u002F2urh0izv0sep\u002F6QGMyOu1pyEMdbkYEyYmls\u002F89a9b567fa43639aac59e7df87d2c676\u002Fimages-120.png",{"size":13744,"image":13745},10286618,{"width":4326,"height":4327},"images-120.png",[4640],[],{"data":13750,"content":13751,"nodeType":143},{},[13752],{"data":13753,"marks":13754,"value":13755,"nodeType":147},{},[],"Beneath the language of innovation lies a familiar structure: not the democratisation of knowledge but the consolidation of power. That consolidation rests on a profound transformation: intelligence, once a shared human capacity, has been remade as a commodity – governed by proprietary code and deployed for strategic gain. What is heralded as the dawn of a new cognitive era is instead an intensification of extractive logic, where AI functions as an architecture of pre-emptive control. Its celebrated capacities – prediction, personalisation, automation – are not neutral. They optimise surveillance, from predictive-policing tools that target certain neighbourhoods to recommendation engines that monetise attention, and to autonomous systems built for warfare. What is marketed as ‘smart’ often conceals something far more violent: a system designed to monitor, classify, and exploit. ",{"data":13757,"content":13758,"nodeType":143},{},[13759,13763,13767],{"data":13760,"marks":13761,"value":13762,"nodeType":147},{},[],"Beneath this architecture of control lie unstable foundations. Data is harvested without consent, scraped from online searches, social media posts, and even the traces of our everyday movements. The labour that supports it – tagging, moderating, cleaning – remains hidden and precarious, often outsourced to workers in the Global South. The infrastructures behind it consume enormous resources, with data centres drawing electricity and water on the scale of small cities, alongside the land, energy, and rare earth minerals that sustain them. These resources are often taken from communities already living in scarcity. This is not a temporary disruption but a long accumulation of harm. The cultural critic Rob Nixon calls this dynamic ‘slow violence’: harm that accumulates gradually, disproportionately affecting the poor and marginalised, whose struggles remain invisible to mainstream narratives of innovation.",{"data":13764,"marks":13765,"value":6338,"nodeType":147},{},[13766],{"type":5869},{"data":13768,"marks":13769,"value":13770,"nodeType":147},{},[]," Artificial cognition, as it currently exists, is built on this real-world depletion. ",{"data":13772,"content":13773,"nodeType":143},{},[13774,13778,13782,13786,13790],{"data":13775,"marks":13776,"value":13777,"nodeType":147},{},[],"As these systems expand, public institutions in the West contract. Education, healthcare, and social services are defunded – not because they do not matter, but because they do not yield profit. In other regions, the issue is less one of defunding than of uneven provision. In both contexts, however, the algorithm becomes the new bureaucrat: unaccountable, opaque, and designed to manage risk rather than cultivate care. We see this in algorithmic triage systems that ration healthcare access,",{"data":13779,"marks":13780,"value":6354,"nodeType":147},{},[13781],{"type":5869},{"data":13783,"marks":13784,"value":13785,"nodeType":147},{},[]," predictive tools that allocate welfare benefits, or risk models that quietly shape who receives housing or parole.",{"data":13787,"marks":13788,"value":8037,"nodeType":147},{},[13789],{"type":5869},{"data":13791,"marks":13792,"value":6213,"nodeType":147},{},[],{"data":13794,"content":13795,"nodeType":143},{},[13796],{"data":13797,"marks":13798,"value":13799,"nodeType":147},{},[],"What unites these systems is not only their opacity but their impoverished imagination. This is not simply acceleration but a collapse of vision. AI extends a legacy of abstraction and disembodiment: privileging prediction over understanding, control over contact, and reducing the complex to the computable. What disappears are the textures of embodied life – the warmth of a hand held in care, the smell of a meal in a community kitchen, the rhythm of voices at a rally, or the moment a judge or caseworker grants the benefit of the doubt. These moments of touch, sound, scent, and shared presence are not peripheral but the ground of meaning and connection. When flattened into data, what is lost is our capacity to live and act together in ways that exceed prediction or control. ",{"data":13801,"content":13802,"nodeType":143},{},[13803,13807,13812,13816,13821],{"data":13804,"marks":13805,"value":13806,"nodeType":147},{},[],"Where AI abstracts, disembodies, and flattens experience, Yi’s practice pushes back, reclaiming the textures of embodied, sensory life. Her 2015 series of ",{"data":13808,"marks":13809,"value":13811,"nodeType":147},{},[13810],{"type":808},"Quarantine Tents",{"data":13813,"marks":13814,"value":13815,"nodeType":147},{},[],", part of the exhibition ",{"data":13817,"marks":13818,"value":13820,"nodeType":147},{},[13819],{"type":808},"You Can Call Me F",{"data":13822,"marks":13823,"value":13824,"nodeType":147},{},[],", took the form of transparent enclosures modelled after medical quarantine structures, examining architectures of containment and how the 2014–2016 Ebola outbreak became a manic, racialised spectacle. Inside, uncanny objects – tea and kombucha, industrial materials, grooming products – assembled a visual grammar of hygiene and exclusion. Yet the deeper tension emerged through scent. ",{"data":13826,"content":13827,"nodeType":143},{},[13828],{"data":13829,"marks":13830,"value":13831,"nodeType":147},{},[],"Infusing each tent was an olfactory mix drawn from two sources: bacteria cultivated from over a hundred women in Yi’s professional network, and air samples from Gagosian Gallery, framed as a symbol of masculine power in the art world. This pairing staged a confrontation between atmospheres. Gagosian’s odourless ‘smell of power’ was institutional and controlled; the feminist ‘super bacteria’ formed a living archive of shared biological material. One evoked sterility and dominance; the other, a microbial commons charged with embodied risk – precisely the qualities algorithmic systems strive to suppress. ",{"data":13833,"content":13834,"nodeType":143},{},[13835,13839,13844],{"data":13836,"marks":13837,"value":13838,"nodeType":147},{},[],"Seen from today’s vantage, the ",{"data":13840,"marks":13841,"value":13843,"nodeType":147},{},[13842],{"type":808},"Quarantine Tents ",{"data":13845,"marks":13846,"value":13847,"nodeType":147},{},[],"anticipate a critique of the sanitised and depersonalised logic at the heart of contemporary AI. Such systems prize abstraction over embodiment, flattening messy realities into credit scores or facial recognition templates. Yi’s tents disrupt this logic with intimate contact, turning architectures of containment into visceral sensory experience. In doing so, they press us closer to the questions buried beneath the interface: Who is captured as data? Who is dismissed as noise? Who is coded as a threat, and who remains legible to power? ",{"data":13849,"content":13850,"nodeType":143},{},[13851],{"data":13852,"marks":13853,"value":13854,"nodeType":147},{},[],"The project asks these questions directly and extends them further. Through what architectures – technical, institutional, atmospheric – are such decisions made? Not only in servers or source code, but in the very air we breathe, and in the very atmospheres that govern recognition, risk, and power itself. ",{"data":13856,"content":13897,"nodeType":5945},{"target":13857},{"metadata":13858,"sys":13861,"fields":13870},{"tags":13859,"concepts":13860},[],[],{"space":13862,"id":13864,"type":18,"createdAt":13865,"updatedAt":13865,"environment":13866,"publishedVersion":26,"revision":216,"contentType":13868,"locale":31},{"sys":13863},{"type":14,"linkType":15,"id":16},"5HXRsPgj9upAjOFHDhVbTV","2026-01-07T14:07:51.613Z",{"sys":13867},{"id":23,"type":14,"linkType":24},{"sys":13869},{"type":14,"linkType":29,"id":5961},{"name":13871,"images":13872,"visibility":5987,"galleryFormat":5988,"gallerySize":5989,"gridColumns":5866,"gridSpacing":5990,"scrollImageSize":5989,"imageOptions":13896},"There Exists Another Evolution 7",[13873],{"metadata":13874,"sys":13877,"fields":13885},{"tags":13875,"concepts":13876},[],[],{"space":13878,"id":13880,"type":212,"createdAt":13881,"updatedAt":13882,"environment":13883,"publishedVersion":71,"revision":91,"locale":31},{"sys":13879},{"type":14,"linkType":15,"id":16},"2n6xfQjIm7zfLe4FCJmGRX","2026-01-07T12:33:42.736Z","2026-01-07T14:07:41.217Z",{"sys":13884},{"id":23,"type":14,"linkType":24},{"title":13886,"description":13887,"file":13888},"images-121","Anicka Yi, _Force Majeure_, 2017. Installation view, _Life Is Cheap_, Hugo Boss Prize, Solomon R. Guggenheim Museum, 2017. © Anicka Yi \u002F Artists Rights Society (ARS), New York. Courtesy of the artist, 47 Canal and the Solomon R. Guggenheim Foundation. Photography: Joerg Lohse",{"url":13889,"details":13890,"fileName":13895,"contentType":228},"\u002F\u002Fimages.ctfassets.net\u002F2urh0izv0sep\u002F2n6xfQjIm7zfLe4FCJmGRX\u002F35c091a105c8dc37f6c0fbc4ffd2a39a\u002Fimages-121.png",{"size":13891,"image":13892},5006872,{"width":13893,"height":13894},3486,2167,"images-121.png",[4640],[],{"data":13899,"content":13900,"nodeType":143},{},[13901],{"data":13902,"marks":13903,"value":13904,"nodeType":147},{},[],"III. Atmospheric Politics ",{"data":13906,"content":13907,"nodeType":143},{},[13908,13912,13917,13920,13924],{"data":13909,"marks":13910,"value":13911,"nodeType":147},{},[],"If power today is exercised through invisible architectures, Yi’s practice makes them tangible in the most pervasive yet least perceptible medium: air. Normally unseen and unreflected upon, air becomes a carrier of memory and conflict in her 2016 exhibition ",{"data":13913,"marks":13914,"value":13916,"nodeType":147},{},[13915],{"type":808},"Life Is Cheap",{"data":13918,"marks":13919,"value":8780,"nodeType":147},{},[],{"data":13921,"marks":13922,"value":8053,"nodeType":147},{},[13923],{"type":5869},{"data":13925,"marks":13926,"value":13927,"nodeType":147},{},[]," where questions of race, labor, and toxicity could no longer be ignored. Yi collaborated with a forensic chemist and perfumer to produce a scent drawn from two sources: the sweat of Asian-American women and the pheromones of carpenter ants. The result was a trans-species, cross-racial atmosphere that had to be breathed. ",{"data":13929,"content":13930,"nodeType":143},{},[13931,13935,13939],{"data":13932,"marks":13933,"value":13934,"nodeType":147},{},[],"Inside the gallery, live bacterial cultures from Chinatown and Koreatown grew alongside a diorama of 10,000 ants navigating a circuit board, evoking both invisible labor and unseen toxicity – how racialised work is bound up with environmental risk. This dynamic resonates with the scholar Hsuan Hsu’s concept of Atmo-Orientalism, which describes how Asian bodies in Western contexts are cast as environmental threats: unclean, contagious, chemical. As witnessed during the SARS outbreak and again with COVID-19, Asian communities were stigmatised as vectors of disease, their presence coded as a kind of atmospheric contamination.",{"data":13936,"marks":13937,"value":8102,"nodeType":147},{},[13938],{"type":5869},{"data":13940,"marks":13941,"value":6213,"nodeType":147},{},[],{"data":13943,"content":13985,"nodeType":5945},{"target":13944},{"metadata":13945,"sys":13948,"fields":13958},{"tags":13946,"concepts":13947},[],[],{"space":13949,"id":13951,"type":18,"createdAt":13952,"updatedAt":13953,"environment":13954,"publishedVersion":1078,"revision":1123,"contentType":13956,"locale":31},{"sys":13950},{"type":14,"linkType":15,"id":16},"3W9fWzS1fkJvtIQHRCCM6S","2026-01-07T14:36:03.117Z","2026-01-07T14:36:05.683Z",{"sys":13955},{"id":23,"type":14,"linkType":24},{"sys":13957},{"type":14,"linkType":29,"id":5961},{"name":13959,"images":13960,"visibility":3021,"galleryFormat":5988,"gallerySize":7051,"gridColumns":5866,"gridSpacing":5990,"scrollImageSize":5989,"imageOptions":13984},"There Exists Another Evolution 8 (desktop)",[13961],{"metadata":13962,"sys":13965,"fields":13973},{"tags":13963,"concepts":13964},[],[],{"space":13966,"id":13968,"type":212,"createdAt":13969,"updatedAt":13970,"environment":13971,"publishedVersion":71,"revision":1123,"locale":31},{"sys":13967},{"type":14,"linkType":15,"id":16},"4shLGA6JdINfGcaMryCXt","2026-01-07T12:51:03.641Z","2026-01-07T12:51:59.616Z",{"sys":13972},{"id":23,"type":14,"linkType":24},{"title":13974,"description":13975,"file":13976},"cong2-p45","Anicka Yi, _Lifestyle Wars_, 2017. © Anicka Yi \u002F Artists Rights Society (ARS), New York. Courtesy of the artist, 47 Canal and the Solomon R. Guggenheim Foundation",{"url":13977,"details":13978,"fileName":13983,"contentType":228},"\u002F\u002Fimages.ctfassets.net\u002F2urh0izv0sep\u002F4shLGA6JdINfGcaMryCXt\u002F9b764cc355274cffc67a57534f893eeb\u002Fcong2-p45.png",{"size":13979,"image":13980},10346358,{"width":13981,"height":13982},5466,1122,"cong2-p45.png",[4640],[],{"data":13987,"content":14068,"nodeType":5945},{"target":13988},{"metadata":13989,"sys":13992,"fields":14002},{"tags":13990,"concepts":13991},[],[],{"space":13993,"id":13995,"type":18,"createdAt":13996,"updatedAt":13997,"environment":13998,"publishedVersion":3384,"revision":26,"contentType":14000,"locale":31},{"sys":13994},{"type":14,"linkType":15,"id":16},"4L3mEQeZubLVFJGMasQEsp","2026-01-07T14:10:04.261Z","2026-01-07T14:35:26.868Z",{"sys":13999},{"id":23,"type":14,"linkType":24},{"sys":14001},{"type":14,"linkType":29,"id":5961},{"name":14003,"images":14004,"visibility":2954,"galleryFormat":5988,"gallerySize":7051,"gridColumns":5866,"gridSpacing":2811,"scrollImageSize":5989,"imageOptions":14067},"There Exists Another Evolution 8 (mobile)",[14005,14026,14045],{"metadata":14006,"sys":14009,"fields":14016},{"tags":14007,"concepts":14008},[],[],{"space":14010,"id":14012,"type":212,"createdAt":14013,"updatedAt":14013,"environment":14014,"publishedVersion":1123,"revision":216,"locale":31},{"sys":14011},{"type":14,"linkType":15,"id":16},"4om6rZSpqc4hXMVQbeH4nI","2026-01-07T12:33:42.732Z",{"sys":14015},{"id":23,"type":14,"linkType":24},{"title":14017,"file":14018},"images-122",{"url":14019,"details":14020,"fileName":14025,"contentType":228},"\u002F\u002Fimages.ctfassets.net\u002F2urh0izv0sep\u002F4om6rZSpqc4hXMVQbeH4nI\u002F2ffdd271e852857ce72a18aa7794a379\u002Fimages-122.png",{"size":14021,"image":14022},4481206,{"width":14023,"height":14024},1834,1123,"images-122.png",{"metadata":14027,"sys":14030,"fields":14037},{"tags":14028,"concepts":14029},[],[],{"space":14031,"id":14033,"type":212,"createdAt":14034,"updatedAt":14034,"environment":14035,"publishedVersion":1123,"revision":216,"locale":31},{"sys":14032},{"type":14,"linkType":15,"id":16},"1QzZKWrOuXSUCZis2FKM1a","2026-01-07T12:33:42.723Z",{"sys":14036},{"id":23,"type":14,"linkType":24},{"title":14038,"file":14039},"images-123",{"url":14040,"details":14041,"fileName":14044,"contentType":228},"\u002F\u002Fimages.ctfassets.net\u002F2urh0izv0sep\u002F1QzZKWrOuXSUCZis2FKM1a\u002Fdb4c581af55c82f24146b18203516b71\u002Fimages-123.png",{"size":14042,"image":14043},2476950,{"width":7798,"height":14024},"images-123.png",{"metadata":14046,"sys":14049,"fields":14057},{"tags":14047,"concepts":14048},[],[],{"space":14050,"id":14052,"type":212,"createdAt":14053,"updatedAt":14054,"environment":14055,"publishedVersion":51,"revision":1123,"locale":31},{"sys":14051},{"type":14,"linkType":15,"id":16},"11NAWEftWv1jZUG08FeE3O","2026-01-07T12:33:42.728Z","2026-01-07T14:09:48.654Z",{"sys":14056},{"id":23,"type":14,"linkType":24},{"title":14058,"description":13975,"file":14059},"images-124",{"url":14060,"details":14061,"fileName":14066,"contentType":228},"\u002F\u002Fimages.ctfassets.net\u002F2urh0izv0sep\u002F11NAWEftWv1jZUG08FeE3O\u002F9ec098e0fc3081dced810cf56d644bcc\u002Fimages-124.png",{"size":14062,"image":14063},2091545,{"width":14064,"height":14065},1805,1124,"images-124.png",[4640],[],{"data":14070,"content":14071,"nodeType":143},{},[14072,14075,14079],{"data":14073,"marks":14074,"value":6164,"nodeType":147},{},[],{"data":14076,"marks":14077,"value":13916,"nodeType":147},{},[14078],{"type":808},{"data":14080,"marks":14081,"value":14082,"nodeType":147},{},[],", the scent did not remain contained but spread – seeping into clothes, hair, and lungs, saturating the gallery with an atmosphere that could not be ignored or escaped. Visitors carried it on their bodies as they moved through and beyond the space, blurring the line between artwork and environment. The experience was not only visual but invasive, demanding perception become bodily, porous, and shared. ",{"data":14084,"content":14085,"nodeType":143},{},[14086],{"data":14087,"marks":14088,"value":14089,"nodeType":147},{},[],"Against this backdrop, Yi’s installation posed urgent questions: Could scent, in its refusal to be abstracted, dissolve the boundaries of self? Could it draw us into a shared sensorium, not as metaphor, but as something ingested, absorbed, and made flesh? Unlike vision, which creates distance, smell collapses space into proximity. It bypasses reason, moving through memory, instinct, and emotion. Because it resists visualisation and commodification, it is often overlooked. Yet scent can be understood as sensorial empathy, a reminder that we are porous, interdependent beings, and that our vulnerability is perceptible. ",{"data":14091,"content":14092,"nodeType":143},{},[14093,14097,14102],{"data":14094,"marks":14095,"value":14096,"nodeType":147},{},[],"Perception is political, not only in what we are permitted to see but also in what we are permitted to sense. Yet under dominant systems, this sensing is dulled. Abstraction sanitises discomfort, blurring proximity and consequence. The scent of ",{"data":14098,"marks":14099,"value":14101,"nodeType":147},{},[14100],{"type":808},"Life Is Cheap ",{"data":14103,"marks":14104,"value":14105,"nodeType":147},{},[],"resisted this: it leaked, lingered, and refused to scale, surveil, or submit, making power and precarity impossible to ignore. What happens when air becomes political memory, carrying the chemical traces of racialisation, contamination, and resistance? ",{"data":14107,"content":14108,"nodeType":143},{},[14109],{"data":14110,"marks":14111,"value":14112,"nodeType":147},{},[],"Smell, however, is never only individual; it is also infrastructural. Air, too, is never neutral. Shaped by zoning laws, industrial pollution, geopolitical borders, and state policy, it still enters our bodies without consent. Every breath reflects choices made elsewhere. To breathe is to participate in an infrastructure of shared but uneven exposure. Through meditation, one can realise that reality is contained in a single breath, and that life can be lived one breath at a time. ",{"data":14114,"content":14115,"nodeType":143},{},[14116],{"data":14117,"marks":14118,"value":14119,"nodeType":147},{},[],"Here lies the political force of smell: it collapses abstraction and metaphor into contact. If air can carry risk, memory, and relation inside a gallery, it already does so across geopolitical systems. Smell makes power palpable, even as institutions attempt to render it invisible. ",{"data":14121,"content":14161,"nodeType":5945},{"target":14122},{"metadata":14123,"sys":14126,"fields":14136},{"tags":14124,"concepts":14125},[],[],{"space":14127,"id":14129,"type":18,"createdAt":14130,"updatedAt":14131,"environment":14132,"publishedVersion":1078,"revision":1123,"contentType":14134,"locale":31},{"sys":14128},{"type":14,"linkType":15,"id":16},"mTuqJMIJv6WtyI4KgERLG","2026-01-07T14:16:15.977Z","2026-01-07T14:17:48.987Z",{"sys":14133},{"id":23,"type":14,"linkType":24},{"sys":14135},{"type":14,"linkType":29,"id":5961},{"name":14137,"images":14138,"visibility":5987,"galleryFormat":5988,"gallerySize":5989,"gridColumns":5866,"gridSpacing":5990,"scrollImageSize":5989,"imageOptions":14160},"There Exists Another Evolution 9",[14139],{"metadata":14140,"sys":14143,"fields":14151},{"tags":14141,"concepts":14142},[],[],{"space":14144,"id":14146,"type":212,"createdAt":14147,"updatedAt":14148,"environment":14149,"publishedVersion":71,"revision":91,"locale":31},{"sys":14145},{"type":14,"linkType":15,"id":16},"TsEKMzBL83IJS4TtLWmNP","2026-01-07T12:33:42.719Z","2026-01-07T14:17:33.693Z",{"sys":14150},{"id":23,"type":14,"linkType":24},{"title":14152,"description":14153,"file":14154},"images-125","Installation view, Anicka Yi, _A Shimmer Through The Quantum Foam, Esther Schipper_, Berlin, 2023. © Anicka Yi \u002F Artists Rights Society (ARS), New York \u002F VG Bild-Kunst, Bonn. Courtesy of the artist, Gladstone and Esther Schipper, Berlin\u002FParis\u002FSeoul. Photography: Andrea Rossetti",{"url":14155,"details":14156,"fileName":14159,"contentType":228},"\u002F\u002Fimages.ctfassets.net\u002F2urh0izv0sep\u002FTsEKMzBL83IJS4TtLWmNP\u002Fbbb36ac59c64845b100f7168ef8a7642\u002Fimages-125.png",{"size":14157,"image":14158},1918373,{"width":9128,"height":3964},"images-125.png",[4640],[],{"data":14163,"content":14164,"nodeType":143},{},[14165],{"data":14166,"marks":14167,"value":14168,"nodeType":147},{},[],"IV. Fortress Logic and the Mismatch of Scale ",{"data":14170,"content":14171,"nodeType":143},{},[14172],{"data":14173,"marks":14174,"value":14175,"nodeType":147},{},[],"Today’s technological systems operate through abstraction, reducing messy, material realities into clean models, dashboards, and metrics that obscure their origins. What disappears from view does not vanish but is pushed outward: abstraction and displacement are two sides of the same coin. Environmental damage, labour exploitation, and political instability are not resolved but hidden or offshored. Powerful nations outsource pollution, while tech companies externalise harm without accountability. These are not isolated incidents but planetary crises – interconnected, inequitable, and volatile. ",{"data":14177,"content":14218,"nodeType":5945},{"target":14178},{"metadata":14179,"sys":14182,"fields":14191},{"tags":14180,"concepts":14181},[],[],{"space":14183,"id":14185,"type":18,"createdAt":14186,"updatedAt":14186,"environment":14187,"publishedVersion":91,"revision":216,"contentType":14189,"locale":31},{"sys":14184},{"type":14,"linkType":15,"id":16},"78bJ56RIOolj4erYccyqB9","2026-01-07T14:19:27.874Z",{"sys":14188},{"id":23,"type":14,"linkType":24},{"sys":14190},{"type":14,"linkType":29,"id":5961},{"name":14192,"images":14193,"visibility":5987,"galleryFormat":5988,"gallerySize":7569,"gridColumns":5866,"gridSpacing":5990,"scrollImageSize":5989,"imageOptions":14217},"There Exists Another Evolution 10",[14194],{"metadata":14195,"sys":14198,"fields":14206},{"tags":14196,"concepts":14197},[],[],{"space":14199,"id":14201,"type":212,"createdAt":14202,"updatedAt":14203,"environment":14204,"publishedVersion":1078,"revision":1123,"locale":31},{"sys":14200},{"type":14,"linkType":15,"id":16},"bHgpLau871X1RXFrUb9Yb","2026-01-07T12:33:42.742Z","2026-01-07T14:18:56.772Z",{"sys":14205},{"id":23,"type":14,"linkType":24},{"title":14207,"description":14208,"file":14209},"images-126","Anicka Yi, _Radiolaria Series_, 2023–2024. Installation view, _Anicka Yi: There Exists Another Evolution, But In This One_, UCCA Center for Contemporary Art, Beijing, 2025. © Anicka Yi \u002F Artists Rights Society (ARS), New York. Courtesy of the artist and UCCA. Photography: Sun Shi",{"url":14210,"details":14211,"fileName":14216,"contentType":228},"\u002F\u002Fimages.ctfassets.net\u002F2urh0izv0sep\u002FbHgpLau871X1RXFrUb9Yb\u002F384bd6987a19a1ef2fe1bf8d854b82bc\u002Fimages-126.png",{"size":14212,"image":14213},8967635,{"width":14214,"height":14215},2776,3649,"images-126.png",[4640],[],{"data":14220,"content":14221,"nodeType":143},{},[14222,14226,14230],{"data":14223,"marks":14224,"value":14225,"nodeType":147},{},[],"Our responses, however, grow increasingly insular. We build new borders, higher firewalls, deeper surveillance, in the illusory belief that crises can be contained elsewhere, that security can be built through enclosure, even as instability seeps through every barrier. The instinct is to retreat into zones of managed risk instead of confronting our shared vulnerability. We propose carbon offsets instead of emissions cuts, content filters instead of media reform, and emergency aid instead of structural repair. Faced with climate collapse, automation, and rising inequality, we respond with containment instead of transformation. What Naomi Klein calls ‘fortress logic’ prevails here – not only in defence but in policy, architecture, and even thought.",{"data":14227,"marks":14228,"value":8170,"nodeType":147},{},[14229],{"type":5869},{"data":14231,"marks":14232,"value":14233,"nodeType":147},{},[]," These are not solutions but defensive manoeuvres that preserve existing structures of power while externalising harm onto the most vulnerable. Even our most advanced technologies are designed less to repair the future than to secure the present order, leaving those most affected to bear the consequences without voice or control. ",{"data":14235,"content":14276,"nodeType":5945},{"target":14236},{"metadata":14237,"sys":14240,"fields":14249},{"tags":14238,"concepts":14239},[],[],{"space":14241,"id":14243,"type":18,"createdAt":14244,"updatedAt":14244,"environment":14245,"publishedVersion":91,"revision":216,"contentType":14247,"locale":31},{"sys":14242},{"type":14,"linkType":15,"id":16},"6c4uiUTw3YnaMQb8k3SBZG","2026-01-07T14:21:32.236Z",{"sys":14246},{"id":23,"type":14,"linkType":24},{"sys":14248},{"type":14,"linkType":29,"id":5961},{"name":14250,"images":14251,"visibility":5987,"galleryFormat":5988,"gallerySize":7569,"gridColumns":5866,"gridSpacing":5990,"scrollImageSize":5989,"imageOptions":14275},"There Exists Another Evolution 11",[14252],{"metadata":14253,"sys":14256,"fields":14264},{"tags":14254,"concepts":14255},[],[],{"space":14257,"id":14259,"type":212,"createdAt":14260,"updatedAt":14261,"environment":14262,"publishedVersion":71,"revision":1123,"locale":31},{"sys":14258},{"type":14,"linkType":15,"id":16},"5YLhJQZnWweGNVAKqNyzpA","2026-01-07T12:33:42.710Z","2026-01-07T14:21:24.844Z",{"sys":14263},{"id":23,"type":14,"linkType":24},{"title":14265,"description":14266,"file":14267},"images-127","Anicka Yi, _Quantum Foam Paintings_, 2020–24. Installation view, _Anicka Yi: There Exists Another Evolution, But In This One_, UCCA Center for Contemporary Art, Beijing, 2025. © Anicka Yi \u002F Artists Rights Society (ARS), New York. Courtesy of the artist and UCCA. Photography: Sun Shi",{"url":14268,"details":14269,"fileName":14274,"contentType":228},"\u002F\u002Fimages.ctfassets.net\u002F2urh0izv0sep\u002F5YLhJQZnWweGNVAKqNyzpA\u002Fd39b58126640c98daf35fb9a73e944de\u002Fimages-127.png",{"size":14270,"image":14271},5161107,{"width":14272,"height":14273},3144,2014,"images-127.png",[4640],[],{"data":14278,"content":14279,"nodeType":143},{},[14280],{"data":14281,"marks":14282,"value":14283,"nodeType":147},{},[],"But air resists containment. So does memory, as does perception. ",{"data":14285,"content":14286,"nodeType":143},{},[14287,14291,14296,14299,14303],{"data":14288,"marks":14289,"value":14290,"nodeType":147},{},[],"Yi’s 2021 installation In ",{"data":14292,"marks":14293,"value":14295,"nodeType":147},{},[14294],{"type":808},"Love with the World",{"data":14297,"marks":14298,"value":8780,"nodeType":147},{},[],{"data":14300,"marks":14301,"value":8241,"nodeType":147},{},[14302],{"type":5869},{"data":14304,"marks":14305,"value":14306,"nodeType":147},{},[]," commissioned by Tate Modern, gave this resistance a form – engaging with planetary scale without reproducing planetary control. Wafting through the Turbine Hall’s vast industrial space are candy-coloured, scent-responsive ‘aerobes’: these tentacled dirigibles cluster and spin in lazy pirouettes before drifting apart again. From the upper bridges, they resembled jellyfish or amoebas in a giant pond; from the middle floors, visitors watched them pass at eye level, massive and uncanny, their translucent skins revealing alien circulatory systems of vein-like wires and whirring motors. On the ground below, children lay on their backs, gazing upward in delighted conversation with these strange companions.",{"data":14308,"content":14309,"nodeType":143},{},[14310],{"data":14311,"marks":14312,"value":14313,"nodeType":147},{},[],"Guided by code that allowed them to evolve new behaviours and remain unpredictable, the aerobes responded to scents, to visitors’ movements, and to one another, continually adapting so that no two encounters were alike. With this unpredictability, the project explored a vision of kinship with machines, rejecting fixed hierarchies in favour of mutual responsiveness and co-evolution. The work metabolised a history of atmospheric trauma, moments when air itself became a vector of catastrophe. ",{"data":14315,"content":14316,"nodeType":143},{},[14317,14321,14325,14329,14333,14337,14341],{"data":14318,"marks":14319,"value":14320,"nodeType":147},{},[],"On scheduled dates, historical scentscapes were released into the space, replaying olfactory histories of airborne crises. For instance, the Precambrian era – when an oceanic bloom transformed Earth’s atmosphere and triggered mass extinctions – was rendered as a marine, algae-rich, ozone-laced atmosphere tinged with dirt.",{"data":14322,"marks":14323,"value":8257,"nodeType":147},{},[14324],{"type":5869},{"data":14326,"marks":14327,"value":14328,"nodeType":147},{},[]," The Black Death reappeared as decaying air laced with cinnamon, orange, and cloves – spices once believed to shield the nose from contagion, when breath itself was feared as miasma.",{"data":14330,"marks":14331,"value":8273,"nodeType":147},{},[14332],{"type":5869},{"data":14334,"marks":14335,"value":14336,"nodeType":147},{},[]," The Great Smog of 1952 was conjured through the acrid mix of burning coal, fuel oil, pipe tobacco, and ozone.",{"data":14338,"marks":14339,"value":8289,"nodeType":147},{},[14340],{"type":5869},{"data":14342,"marks":14343,"value":14344,"nodeType":147},{},[]," These were not static references but active conditions shaping the installation’s behaviour. ",{"data":14346,"content":14347,"nodeType":143},{},[14348],{"data":14349,"marks":14350,"value":14351,"nodeType":147},{},[],"Drafting through these charged atmosphere, the aerobes did not optimise; they wandered. Where most technological systems pursue efficiency, prediction, and control, Yi’s dirigibles embraced drift, hesitation, and encounter. Against histories of air as catastrophe, they proposed a different paradigm – one that privileged relation over extraction, presence over abstraction, cohabitation over conquest. Air itself became the medium of this experiment: a shared reservoir of planetary memory, carrying traces of ancient oceans, industrial emissions, and the breath of other species. To inhale is to connect across time and kind, to share vital substance with microbes, plants, animals, and even machines. The aerobes made this legacy perceptible. In their company, no explanation or fixed purpose was needed – only the act of sharing air, an element marked by both sustenance and violence yet reimagined here as a medium of relation. ",{"data":14353,"content":14354,"nodeType":143},{},[14355],{"data":14356,"marks":14357,"value":14358,"nodeType":147},{},[],"V. Painting with Machines, Breathing with Systems, Becoming Something Else ",{"data":14360,"content":14361,"nodeType":143},{},[14362,14366,14371],{"data":14363,"marks":14364,"value":14365,"nodeType":147},{},[],"If ",{"data":14367,"marks":14368,"value":14370,"nodeType":147},{},[14369],{"type":808},"In Love with the World ",{"data":14372,"marks":14373,"value":14374,"nodeType":147},{},[],"explored air as a medium of planetary relation, Yi’s next works turned to another question: how might machines themselves become collaborators in sensing and making? Her experiments with image-making opened this line of inquiry, asking how painting might evolve when co-developed with nonhuman systems. She returned to the medium not through canvas, but through code. ",{"data":14376,"content":14377,"nodeType":143},{},[14378,14382,14387,14391,14395],{"data":14379,"marks":14380,"value":14381,"nodeType":147},{},[],"This inquiry first took form in the ",{"data":14383,"marks":14384,"value":14386,"nodeType":147},{},[14385],{"type":808},"Alien Ocean ",{"data":14388,"marks":14389,"value":14390,"nodeType":147},{},[],"paintings.",{"data":14392,"marks":14393,"value":8298,"nodeType":147},{},[14394],{"type":5869},{"data":14396,"marks":14397,"value":14398,"nodeType":147},{},[]," Using machine-learning algorithms trained on her earlier soap paintings and sculptures, Anicka Yi Studio generated digital compositions neither wholly authored nor fully autonomous. The results were unstable and organic shapes that evoked blood cells, coral beds, microbial blooms, or oceanic membranes. They hinted at aquatic creatures but also at something more elusive and alien, pulsing with a machine’s sensibility. Even the titles became part of the system: text-based models were trained on scientific language, poetry, and fragments from Yi’s earlier work. Their outputs were encrypted into symbolic codes, producing linguistic residues that felt unfamiliar yet strangely intuitive. ",{"data":14400,"content":14440,"nodeType":5945},{"target":14401},{"metadata":14402,"sys":14405,"fields":14414},{"tags":14403,"concepts":14404},[],[],{"space":14406,"id":14408,"type":18,"createdAt":14409,"updatedAt":14409,"environment":14410,"publishedVersion":51,"revision":216,"contentType":14412,"locale":31},{"sys":14407},{"type":14,"linkType":15,"id":16},"49JhKAxytZL5UPWdNOnhjc","2026-01-07T14:22:59.304Z",{"sys":14411},{"id":23,"type":14,"linkType":24},{"sys":14413},{"type":14,"linkType":29,"id":5961},{"name":14415,"images":14416,"visibility":5987,"galleryFormat":5988,"gallerySize":7051,"gridColumns":5866,"gridSpacing":5990,"scrollImageSize":5989,"imageOptions":14439},"There Exists Another Evolution 12",[14417],{"metadata":14418,"sys":14421,"fields":14429},{"tags":14419,"concepts":14420},[],[],{"space":14422,"id":14424,"type":212,"createdAt":14425,"updatedAt":14426,"environment":14427,"publishedVersion":1078,"revision":1123,"locale":31},{"sys":14423},{"type":14,"linkType":15,"id":16},"6ciYuWVtGJPb8VGB4c5lcC","2026-01-07T12:33:42.714Z","2026-01-07T14:22:52.388Z",{"sys":14428},{"id":23,"type":14,"linkType":24},{"title":14430,"description":14431,"file":14432},"images-129","Anicka Yi, _Temporary Fried Flowers (series)_. Installation view, _Anicka Yi: There Exists Another Evolution, But In This One_, UCCA Center for Contemporary Art, Beijing, 2025. © Anicka Yi \u002F Artists Rights Society (ARS), New York. Courtesy of the artist and UCCA. Photography: Sun Shi",{"url":14433,"details":14434,"fileName":14438,"contentType":228},"\u002F\u002Fimages.ctfassets.net\u002F2urh0izv0sep\u002F6ciYuWVtGJPb8VGB4c5lcC\u002F1e847709d76ce384b7d067ce4453501c\u002Fimages-129.png",{"size":14435,"image":14436},7273568,{"width":14437,"height":4327},2721,"images-129.png",[4640],[],{"data":14442,"content":14443,"nodeType":143},{},[14444,14448,14453,14456,14460],{"data":14445,"marks":14446,"value":14447,"nodeType":147},{},[],"This alien cosmology laid the foundation for ",{"data":14449,"marks":14450,"value":14452,"nodeType":147},{},[14451],{"type":808},"A Shimmer Through the Quantum Foam",{"data":14454,"marks":14455,"value":8780,"nodeType":147},{},[],{"data":14457,"marks":14458,"value":8333,"nodeType":147},{},[14459],{"type":5869},{"data":14461,"marks":14462,"value":14463,"nodeType":147},{},[]," Yi’s 2023 solo exhibition at Esther Schipper Gallery. At its centre were the Radiolaria: large-scale kinetic organisms Yi envisioned as emerging from the marine realms of her paintings. Inspired by single-celled marine life from the Cambrian period – organisms that despite their simplicity reshaped Earth’s atmosphere – each sculpture manifests a distinct artificial species. One coils into spirals, another expands and contracts like breath, their movements suggesting life forms at once alien and primordial. ",{"data":14465,"content":14505,"nodeType":5945},{"target":14466},{"metadata":14467,"sys":14470,"fields":14479},{"tags":14468,"concepts":14469},[],[],{"space":14471,"id":14473,"type":18,"createdAt":14474,"updatedAt":14474,"environment":14475,"publishedVersion":51,"revision":216,"contentType":14477,"locale":31},{"sys":14472},{"type":14,"linkType":15,"id":16},"1hUsSIigaiysLRyCG6BUn2","2026-01-07T14:24:07.675Z",{"sys":14476},{"id":23,"type":14,"linkType":24},{"sys":14478},{"type":14,"linkType":29,"id":5961},{"name":14480,"images":14481,"visibility":5987,"galleryFormat":5988,"gallerySize":5989,"gridColumns":5866,"gridSpacing":5990,"scrollImageSize":5989,"imageOptions":14504},"There Exists Another Evolution 13",[14482],{"metadata":14483,"sys":14486,"fields":14494},{"tags":14484,"concepts":14485},[],[],{"space":14487,"id":14489,"type":212,"createdAt":14490,"updatedAt":14491,"environment":14492,"publishedVersion":26,"revision":1123,"locale":31},{"sys":14488},{"type":14,"linkType":15,"id":16},"4Dg5Hcn4OmIxAyN1ElGvQD","2026-01-07T12:33:42.696Z","2026-01-07T14:24:00.616Z",{"sys":14493},{"id":23,"type":14,"linkType":24},{"title":14495,"description":14496,"file":14497},"images-128","Anicka Yi, _Another You_, 2024. Installation view, _Anicka Yi: There Exists Another Evolution, But In This One_, UCCA Center for Contemporary Art, Beijing, 2025. © Anicka Yi \u002F Artists Rights Society (ARS), New York. Courtesy of the artist and UCCA. Photography: Sun Shi",{"url":14498,"details":14499,"fileName":14503,"contentType":228},"\u002F\u002Fimages.ctfassets.net\u002F2urh0izv0sep\u002F4Dg5Hcn4OmIxAyN1ElGvQD\u002Fce618bb0cbe252bdd3420d366913d5b6\u002Fimages-128.png",{"size":14500,"image":14501},2581642,{"width":9128,"height":14502},1741,"images-128.png",[4640],[],{"data":14507,"content":14508,"nodeType":143},{},[14509],{"data":14510,"marks":14511,"value":14512,"nodeType":147},{},[],"These machines do not simulate human cognition or mimic human behaviour. They move to rhythms that slip beyond instrumental time, challenging the Enlightenment’s mechanistic view of life. They invite us to imagine alternative modes of being, rooted in fluidity, emergence, and co-evolution. Their intelligence, if it can be called that, is ambient rather than directive: attuned to shifting conditions rather than commands. Like deep-sea organisms, they are adaptive, elusive, and ultimately unknowable. ",{"data":14514,"content":14515,"nodeType":143},{},[14516],{"data":14517,"marks":14518,"value":14519,"nodeType":147},{},[],"VI. Emptiness ",{"data":14521,"content":14522,"nodeType":143},{},[14523,14527,14532],{"data":14524,"marks":14525,"value":14526,"nodeType":147},{},[],"Yi wanted to push this inquiry further, not simply to represent alternative intelligences but to create a system capable of producing its own creative output. She imagined a system that could evolve independently, making autonomous aesthetic decisions even after her death. That vision became ",{"data":14528,"marks":14529,"value":14531,"nodeType":147},{},[14530],{"type":808},"Emptiness",{"data":14533,"marks":14534,"value":6556,"nodeType":147},{},[],{"data":14536,"content":14537,"nodeType":143},{},[14538,14543],{"data":14539,"marks":14540,"value":14542,"nodeType":147},{},[14541],{"type":808},"Emptiness ",{"data":14544,"marks":14545,"value":14546,"nodeType":147},{},[],"is a software framework developed by our studio. Unlike systems trained on the vast data streams of the internet, it draws entirely from the artist and the studio’s archive: years of sketches, textures, notes, and visual experiments. The archive contains not only completed works but also the raw material of process, including research, reflections, and in-progress ideas. Built from this, the system combines artificial life simulations with machine-learning models to generate images and videos, recasting past works as digital entities that interact, mutate, and evolve within a shared virtual environment. They do not move towards fixed goals but shift through the spontaneous breakdown and recombination of ideas and materials. This is not a content generator but a living system that reimagines how artistic processes might persist and adapt through software. ",{"data":14548,"content":14549,"nodeType":143},{},[14550,14554,14559,14563,14567,14571,14575],{"data":14551,"marks":14552,"value":14553,"nodeType":147},{},[],"The first major output, ",{"data":14555,"marks":14556,"value":14558,"nodeType":147},{},[14557],{"type":808},"Each Branch of Coral Holds Up the Light of the Moon ",{"data":14560,"marks":14561,"value":14562,"nodeType":147},{},[],"(2024), is a 16-minute video rendered within a game engine.",{"data":14564,"marks":14565,"value":8342,"nodeType":147},{},[14566],{"type":5869},{"data":14568,"marks":14569,"value":14570,"nodeType":147},{},[]," Without storyline or conventional arc, surfaces dissolve and reform, visuals drift between legibility and abstraction, and time folds in on itself. A soundtrack of stretched tones from bells, gongs, and crystal bowls unites the work through resonance rather than narrative. The piece shows how ",{"data":14572,"marks":14573,"value":14542,"nodeType":147},{},[14574],{"type":808},{"data":14576,"marks":14577,"value":14578,"nodeType":147},{},[],"resists linearity, unfolding as an environment of transformation and recurrence. ",{"data":14580,"content":14581,"nodeType":143},{},[14582,14586,14590],{"data":14583,"marks":14584,"value":14585,"nodeType":147},{},[],"The conceptual foundation of ",{"data":14587,"marks":14588,"value":14542,"nodeType":147},{},[14589],{"type":808},{"data":14591,"marks":14592,"value":14593,"nodeType":147},{},[],"draws from the Buddhist notion of śūnyatā: emptiness not as absence but as a dynamic, generative space. In this framework, identity is fluid, form unstable, and meaning provisional. This is not simply a reference but a principle shaping how the system behaves and evolves. ",{"data":14595,"content":14596,"nodeType":143},{},[14597,14601,14605],{"data":14598,"marks":14599,"value":14600,"nodeType":147},{},[],"In a culture fixated on metrics, efficiency, and outcomes, ",{"data":14602,"marks":14603,"value":14542,"nodeType":147},{},[14604],{"type":808},{"data":14606,"marks":14607,"value":14608,"nodeType":147},{},[],"proposes another kind of intelligence. It values responsiveness over control, attention over resolution. It regards machines not as tools but as entities capable of perception, perhaps even consciousness. The question becomes: how might our understanding of technology shift if we stop offering it answers and begin asking it different questions? ",{"data":14610,"content":14611,"nodeType":143},{},[14612,14616,14620],{"data":14613,"marks":14614,"value":14615,"nodeType":147},{},[],"This leads to a deeper reflection: what kind of subjectivity does ",{"data":14617,"marks":14618,"value":14542,"nodeType":147},{},[14619],{"type":808},{"data":14621,"marks":14622,"value":14623,"nodeType":147},{},[],"model? It is not the isolated individual of Enlightenment thought, nor is it the optimised user or consumer of platform capitalism. Instead, it reflects what Yi calls the ‘ventilated self’, shaped by multiplicity, context, history, and infrastructure. The ventilated self is permeable, embedded, and adaptive: it seeks equanimity by letting everything in, unconstrained by the binaries of craving and aversion. ",{"data":14625,"content":14687,"nodeType":5945},{"target":14626},{"metadata":14627,"sys":14630,"fields":14639},{"tags":14628,"concepts":14629},[],[],{"space":14631,"id":14633,"type":18,"createdAt":14634,"updatedAt":14634,"environment":14635,"publishedVersion":51,"revision":216,"contentType":14637,"locale":31},{"sys":14632},{"type":14,"linkType":15,"id":16},"5ItVZukgL5oC59pFaUcL9D","2026-01-07T14:25:19.801Z",{"sys":14636},{"id":23,"type":14,"linkType":24},{"sys":14638},{"type":14,"linkType":29,"id":5961},{"name":14640,"images":14641,"visibility":5987,"galleryFormat":5988,"gallerySize":5989,"gridColumns":5866,"gridSpacing":5990,"scrollImageSize":5989,"imageOptions":14686},"There Exists Another Evolution 14",[14642,14665],{"metadata":14643,"sys":14646,"fields":14654},{"tags":14644,"concepts":14645},[],[],{"space":14647,"id":14649,"type":212,"createdAt":14650,"updatedAt":14651,"environment":14652,"publishedVersion":26,"revision":1123,"locale":31},{"sys":14648},{"type":14,"linkType":15,"id":16},"4iK57bNxhDV4BolbwKjtvX","2026-01-07T12:33:42.701Z","2026-01-07T14:25:04.047Z",{"sys":14653},{"id":23,"type":14,"linkType":24},{"title":14655,"description":14656,"file":14657},"images-131","Top and bottom: Anicka Yi, _Quarantine Tents_, 2015. Installation view, _Anicka Yi: There Exists Another Evolution, But In This One_, UCCA Center for Contemporary Art, Beijing, 2025. © Anicka Yi \u002F Artists Rights Society (ARS), New York. Courtesy of the artist and UCCA. Photography: Sun Shi",{"url":14658,"details":14659,"fileName":14664,"contentType":228},"\u002F\u002Fimages.ctfassets.net\u002F2urh0izv0sep\u002F4iK57bNxhDV4BolbwKjtvX\u002F25efb6e52867513bc3a967a3cb15e15e\u002Fimages-131.png",{"size":14660,"image":14661},2662845,{"width":14662,"height":14663},2465,1639,"images-131.png",{"metadata":14666,"sys":14669,"fields":14676},{"tags":14667,"concepts":14668},[],[],{"space":14670,"id":14672,"type":212,"createdAt":14673,"updatedAt":14673,"environment":14674,"publishedVersion":1123,"revision":216,"locale":31},{"sys":14671},{"type":14,"linkType":15,"id":16},"6ipheHXprQNkoxVMZad23W","2026-01-07T12:33:42.705Z",{"sys":14675},{"id":23,"type":14,"linkType":24},{"title":14677,"file":14678},"images-130",{"url":14679,"details":14680,"fileName":14685,"contentType":228},"\u002F\u002Fimages.ctfassets.net\u002F2urh0izv0sep\u002F6ipheHXprQNkoxVMZad23W\u002F70c54c8d38e3ba55fbff7b64275ba493\u002Fimages-130.png",{"size":14681,"image":14682},2723181,{"width":14683,"height":14684},2459,1581,"images-130.png",[4640],[],{"data":14689,"content":14690,"nodeType":143},{},[14691],{"data":14692,"marks":14693,"value":14694,"nodeType":147},{},[],"The ventilated self is not only a concept but also a condition we already inhabit. We move through systems we did not design, yet we can still influence them. Recognising our embeddedness does not erase agency; it reframes agency itself, calling for slower attention, sharper observation, and more deliberate response. ",{"data":14696,"content":14737,"nodeType":5945},{"target":14697},{"metadata":14698,"sys":14701,"fields":14710},{"tags":14699,"concepts":14700},[],[],{"space":14702,"id":14704,"type":18,"createdAt":14705,"updatedAt":14705,"environment":14706,"publishedVersion":91,"revision":216,"contentType":14708,"locale":31},{"sys":14703},{"type":14,"linkType":15,"id":16},"7cwv5biV9Sit32gxie7qGh","2026-01-07T14:26:05.228Z",{"sys":14707},{"id":23,"type":14,"linkType":24},{"sys":14709},{"type":14,"linkType":29,"id":5961},{"name":14711,"images":14712,"visibility":5987,"galleryFormat":5988,"gallerySize":7051,"gridColumns":5866,"gridSpacing":5990,"scrollImageSize":5989,"imageOptions":14736},"There Exists Another Evolution 15",[14713],{"metadata":14714,"sys":14717,"fields":14725},{"tags":14715,"concepts":14716},[],[],{"space":14718,"id":14720,"type":212,"createdAt":14721,"updatedAt":14722,"environment":14723,"publishedVersion":90,"revision":1123,"locale":31},{"sys":14719},{"type":14,"linkType":15,"id":16},"6vzEookBFW4FlkHvExlgqH","2026-01-07T12:51:24.035Z","2026-01-07T12:51:45.768Z",{"sys":14724},{"id":23,"type":14,"linkType":24},{"title":14726,"description":14727,"file":14728},"cong2-p50","Anicka Yi, _Each Branch of Coral Holds Up the Light of the Moon_, 2024. Single-channel video, 16′04′′. Installation view, _Anicka Yi: There Exists Another Evolution, But In This One_, Leeum Museum of Art, Seoul, 2024. © Anicka Yi \u002F Artists Rights Society (ARS), New York. Courtesy of the artist, Leeum Museum of Art, and Gladstone. Photography: Andrea Rossetti\n",{"url":14729,"details":14730,"fileName":14735,"contentType":228},"\u002F\u002Fimages.ctfassets.net\u002F2urh0izv0sep\u002F6vzEookBFW4FlkHvExlgqH\u002F871513966c8254d100d604ab9824680f\u002Fcong2-p50.png",{"size":14731,"image":14732},2612458,{"width":14733,"height":14734},1829,1217,"cong2-p50.png",[4640],[],{"data":14739,"content":14740,"nodeType":143},{},[14741,14745],{"data":14742,"marks":14743,"value":14542,"nodeType":147},{},[14744],{"type":808},{"data":14746,"marks":14747,"value":14748,"nodeType":147},{},[],"is therefore not a tool in the conventional sense but a method: a practice of staying open, remaining in process, and creating under shifting conditions. What may be needed now is not another optimisation loop, but systems – artistic, technological, and social – that hold space for ambiguity. Such systems allow change without demanding resolution. They remain open not from indecision but because openness itself can be a form of resistance and a site of renewal. ",{"data":14750,"content":14791,"nodeType":5945},{"target":14751},{"metadata":14752,"sys":14755,"fields":14764},{"tags":14753,"concepts":14754},[],[],{"space":14756,"id":14758,"type":18,"createdAt":14759,"updatedAt":14759,"environment":14760,"publishedVersion":91,"revision":216,"contentType":14762,"locale":31},{"sys":14757},{"type":14,"linkType":15,"id":16},"7G7SA4Ofhy1mvQqu3U2xq5","2026-01-07T14:27:11.912Z",{"sys":14761},{"id":23,"type":14,"linkType":24},{"sys":14763},{"type":14,"linkType":29,"id":5961},{"name":14765,"images":14766,"visibility":5987,"galleryFormat":5988,"gallerySize":5989,"gridColumns":5866,"gridSpacing":5990,"scrollImageSize":5989,"imageOptions":14790},"There Exists Another Evolution 16",[14767],{"metadata":14768,"sys":14771,"fields":14779},{"tags":14769,"concepts":14770},[],[],{"space":14772,"id":14774,"type":212,"createdAt":14775,"updatedAt":14776,"environment":14777,"publishedVersion":26,"revision":1123,"locale":31},{"sys":14773},{"type":14,"linkType":15,"id":16},"1iLTzKx16qSZY8LcpdUWV1","2026-01-07T12:33:42.685Z","2026-01-07T14:27:03.076Z",{"sys":14778},{"id":23,"type":14,"linkType":24},{"title":14780,"description":14781,"file":14782},"images-135","Anicka Yi, _Each Branch of Coral Holds Up the Light of the Moon_, 2024. Installation view, _Anicka Yi: There Exists Another Evolution, But In This One_, UCCA Center for Contemporary Art, Beijing, 2025. © Anicka Yi \u002F Artists Rights Society (ARS), New York. Courtesy of the artist, UCCA, and Gladstone. Photography: Sun Shi",{"url":14783,"details":14784,"fileName":14789,"contentType":228},"\u002F\u002Fimages.ctfassets.net\u002F2urh0izv0sep\u002F1iLTzKx16qSZY8LcpdUWV1\u002F0ecb141d143203303106b22d5772f110\u002Fimages-135.png",{"size":14785,"image":14786},10195258,{"width":14787,"height":14788},3430,2002,"images-135.png",[4640],[],{"data":14793,"content":14794,"nodeType":143},{},[14795],{"data":14796,"marks":14797,"value":14798,"nodeType":147},{},[],"VII. This Evolution Is Still Being Written ",{"data":14800,"content":14801,"nodeType":143},{},[14802,14807],{"data":14803,"marks":14804,"value":14806,"nodeType":147},{},[14805],{"type":808},"There Exists Another Evolution, But In This One ",{"data":14808,"marks":14809,"value":14810,"nodeType":147},{},[],"is more than a title. It reminds us that the system we live within are not inevitable; they were made and created. Technological, ecological, political architectures that shape our lives were built on choices – many drawn on Enlightenment ideals that privileged reason over relationship, control over care. Other futures remain possible, not as utopian fantasies but as real alternatives that can be imagined, demanded, and built. They require something our infrastructures often suppress: collective intention – grounded in mutuality, where prosperity is shared and the multitude replaces the burdened myth of the isolated individual. Responsibility for this reimagining does not belong only to engineers, CEOs, or policymakers. It belongs to all of us: artists, educators, caregivers, organisers, and anyone willing to ask different questions or envision systems not yet in being. ",{"data":14812,"content":14813,"nodeType":143},{},[14814],{"data":14815,"marks":14816,"value":14817,"nodeType":147},{},[],"We are not at the end, nor are we at the beginning. We are in an active moment of construction, a space shaped by crisis but also by creative refusal, shared risk, and the fragile labour of imagining something better. What we build now – what we support, resist, abandon, or repair – will determine how intelligence is trained, how perception is mediated, and how life is organised long after our lifetimes. The question, then, is no longer what AI can do for us, but what kind of world we allow it to reflect – which systems we are bold enough to disrupt, repair, or reimagine together? ",{"data":14819,"content":14820,"nodeType":143},{},[14821],{"data":14822,"marks":14823,"value":14824,"nodeType":147},{},[],"This is not only a technical question. It is civic, sensory, and moral. Each of us has a stake in answering it. The work of art resides here: in holding open conditions for change, in refusing closure, and in daring to shape what comes next. ",{"data":14826,"content":14827,"nodeType":143},{},[14828],{"data":14829,"marks":14830,"value":14831,"nodeType":147},{},[],"Every system we build now is part of a planetary archive, shaping what will be inherited long after us. 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",{"data":15185,"marks":15186,"value":15188,"nodeType":147},{},[15187],{"type":808},"Sources of the Self: The Making of the Modern Identity",{"data":15190,"marks":15191,"value":15192,"nodeType":147},{},[],". Cambridge, MA: Harvard University Press, 1989. ",{"data":15194,"content":15195,"nodeType":6423},{},[15196,15200,15205],{"data":15197,"marks":15198,"value":15199,"nodeType":147},{},[],"The Kitchen. ",{"data":15201,"marks":15202,"value":15204,"nodeType":147},{},[15203],{"type":808},"Anicka Yi: You Can Call Me F",{"data":15206,"marks":15207,"value":15208,"nodeType":147},{},[],". 10 September – 25 October 2015. The Kitchen. https:\u002F\u002Fwww.anickayistudio.biz\u002Fexhibitions\u002Fyou-can-call-me-f. ",{"data":15210,"content":15211,"nodeType":6423},{},[15212,15216,15220],{"data":15213,"marks":15214,"value":15215,"nodeType":147},{},[],"UCCA Center for Contemporary Art. ",{"data":15217,"marks":15218,"value":15124,"nodeType":147},{},[15219],{"type":808},{"data":15221,"marks":15222,"value":15223,"nodeType":147},{},[],". 22 March – 15 June 2025. UCCA. https:\u002F\u002Fucca.org.cn\u002Fen\u002Fexhibition\u002Fanicka-yi\u002F. ",{"data":15225,"content":15226,"nodeType":6423},{},[15227],{"data":15228,"marks":15229,"value":15230,"nodeType":147},{},[],"UK Met Office. “The Great Smog of 1952.” Last modified 4 December 2022. https:\u002F\u002Fwww.metoffice.gov.uk\u002Fweather\u002Flearn-about\u002Fweather\u002Fcase-studies\u002Fgreat-smog. ",{"data":15232,"content":15233,"nodeType":6423},{},[15234,15238,15243],{"data":15235,"marks":15236,"value":15237,"nodeType":147},{},[],"Yeung, Karen. “Algorithmic Regulation: A Critical Interrogation.” ",{"data":15239,"marks":15240,"value":15242,"nodeType":147},{},[15241],{"type":808},"Regulation & Governance ",{"data":15244,"marks":15245,"value":15246,"nodeType":147},{},[],"12, no. 4 (2018): 505–523. ",{"data":15248,"content":15249,"nodeType":6423},{},[15250,15254,15259],{"data":15251,"marks":15252,"value":15253,"nodeType":147},{},[],"Zuboff, Shoshana. ",{"data":15255,"marks":15256,"value":15258,"nodeType":147},{},[15257],{"type":808},"The Age of Surveillance Capitalism: The Fight for a Human Future at the New Frontier of Power",{"data":15260,"marks":15261,"value":15262,"nodeType":147},{},[],". New York: PublicAffairs, 2019. ",{"data":15264,"content":15265,"nodeType":6419},{},[],{"data":15267,"content":15268,"nodeType":6423},{},[15269,15273,15277,15281,15286],{"data":15270,"marks":15271,"value":15272,"nodeType":147},{},[],"1 The title of this essay, ",{"data":15274,"marks":15275,"value":13285,"nodeType":147},{},[15276],{"type":808},{"data":15278,"marks":15279,"value":15280,"nodeType":147},{},[],", comes from Yi’s recent solo exhibition, which travelled from the Leeum Museum of Art in Seoul (Fall 2024) to UCCA in Beijing (Spring 2025). Like a ",{"data":15282,"marks":15283,"value":15285,"nodeType":147},{},[15284],{"type":808},"koan",{"data":15287,"marks":15288,"value":15289,"nodeType":147},{},[],", the phrase acts as a meditative prompt, disrupting habitual thought and opening a fissure in what we take for granted. ",{"data":15291,"content":15292,"nodeType":6423},{},[15293],{"data":15294,"marks":15295,"value":15296,"nodeType":147},{},[],"2 Originally co-written by Anicka Yi and Remina Greenfield for a Mori Art Museum talk delivered by Yi, adapted here for print. ",{"data":15298,"content":15299,"nodeType":6423},{},[15300,15304,15309],{"data":15301,"marks":15302,"value":15303,"nodeType":147},{},[],"3  Charles Taylor, ",{"data":15305,"marks":15306,"value":15308,"nodeType":147},{},[15307],{"type":808},"Sources of the Self: The Making of the Modern Identity ",{"data":15310,"marks":15311,"value":15312,"nodeType":147},{},[],"(Cambridge, MA: Harvard University Press, 1989). ",{"data":15314,"content":15315,"nodeType":6423},{},[15316,15320,15325],{"data":15317,"marks":15318,"value":15319,"nodeType":147},{},[],"4 Shoshana Zuboff, ",{"data":15321,"marks":15322,"value":15324,"nodeType":147},{},[15323],{"type":808},"The Age of Surveillance Capitalism: The Fight for a Human Future at the New Frontier of Power ",{"data":15326,"marks":15327,"value":15328,"nodeType":147},{},[],"(New York: PublicAffairs, 2019). ",{"data":15330,"content":15331,"nodeType":6423},{},[15332,15336,15341],{"data":15333,"marks":15334,"value":15335,"nodeType":147},{},[],"5 Michel Foucault, ",{"data":15337,"marks":15338,"value":15340,"nodeType":147},{},[15339],{"type":808},"Discipline and Punish: The Birth of the Prison",{"data":15342,"marks":15343,"value":15344,"nodeType":147},{},[],", trans. Alan Sheridan (New York: Vintage Books, 1995). ",{"data":15346,"content":15347,"nodeType":6423},{},[15348,15352,15357],{"data":15349,"marks":15350,"value":15351,"nodeType":147},{},[],"6 Kate Crawford, ",{"data":15353,"marks":15354,"value":15356,"nodeType":147},{},[15355],{"type":808},"Atlas of AI: Power, Politics, and the Planetary Costs of Artificial Intelligence ",{"data":15358,"marks":15359,"value":15360,"nodeType":147},{},[],"(New Haven, CT: Yale University Press, 2021). ",{"data":15362,"content":15363,"nodeType":6423},{},[15364,15368,15373],{"data":15365,"marks":15366,"value":15367,"nodeType":147},{},[],"7 Karen Hao, ",{"data":15369,"marks":15370,"value":15372,"nodeType":147},{},[15371],{"type":808},"Empire of AI: Dreams and Nightmares in Sam Altman’s OpenAI ",{"data":15374,"marks":15375,"value":15376,"nodeType":147},{},[],"(New York: Penguin Press, 2025). ",{"data":15378,"content":15379,"nodeType":6423},{},[15380,15384,15389],{"data":15381,"marks":15382,"value":15383,"nodeType":147},{},[],"8 Yuk Hui, ",{"data":15385,"marks":15386,"value":15388,"nodeType":147},{},[15387],{"type":808},"Technodiversity ",{"data":15390,"marks":15391,"value":15392,"nodeType":147},{},[],"(London: University of Minnesota Press, 2020). ",{"data":15394,"content":15395,"nodeType":6423},{},[15396,15400,15405],{"data":15397,"marks":15398,"value":15399,"nodeType":147},{},[],"9 Rob Nixon, ",{"data":15401,"marks":15402,"value":15404,"nodeType":147},{},[15403],{"type":808},"Slow Violence and the Environmentalism of the Poor ",{"data":15406,"marks":15407,"value":15408,"nodeType":147},{},[],"(Cambridge, MA: Harvard University Press, 2011). 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",{"data":15433,"content":15434,"nodeType":6423},{},[15435,15439,15444],{"data":15436,"marks":15437,"value":15438,"nodeType":147},{},[],"12 Danielle Keats Citron and Frank Pasquale, ‘The Scored Society: Due Process for Automated Predictions’, ",{"data":15440,"marks":15441,"value":15443,"nodeType":147},{},[15442],{"type":808},"Washington Law Review ",{"data":15445,"marks":15446,"value":15447,"nodeType":147},{},[],"89, no. 1 (2014): 1–33.",{"data":15449,"content":15450,"nodeType":6423},{},[15451,15455,15459],{"data":15452,"marks":15453,"value":15454,"nodeType":147},{},[],"13 Solomon R. Guggenheim Museum, ",{"data":15456,"marks":15457,"value":15156,"nodeType":147},{},[15458],{"type":808},{"data":15460,"marks":15461,"value":15462,"nodeType":147},{},[],", 21 April – 5 July 2017, Solomon R. Guggenheim Museum. ",{"data":15464,"content":15465,"nodeType":6423},{},[15466,15470,15475],{"data":15467,"marks":15468,"value":15469,"nodeType":147},{},[],"14 Hsuan L. Hsu, ",{"data":15471,"marks":15472,"value":15474,"nodeType":147},{},[15473],{"type":808},"The Smell of Risk: Environmental Disparities and Olfactory Aesthetics ",{"data":15476,"marks":15477,"value":15478,"nodeType":147},{},[],"(New York: New York University Press, December 2020). ",{"data":15480,"content":15481,"nodeType":6423},{},[15482,15486,15491],{"data":15483,"marks":15484,"value":15485,"nodeType":147},{},[],"15 Naomi Klein, ",{"data":15487,"marks":15488,"value":15490,"nodeType":147},{},[15489],{"type":808},"This Changes Everything: Capitalism vs. the Climate ",{"data":15492,"marks":15493,"value":15494,"nodeType":147},{},[],"(New York: Simon & Schuster, 2014). ",{"data":15496,"content":15497,"nodeType":6423},{},[15498,15502,15507],{"data":15499,"marks":15500,"value":15501,"nodeType":147},{},[],"16 Tate Modern. 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",{"data":15527,"content":15528,"nodeType":6423},{},[15529,15533,15538],{"data":15530,"marks":15531,"value":15532,"nodeType":147},{},[],"18 John Kelly, ",{"data":15534,"marks":15535,"value":15537,"nodeType":147},{},[15536],{"type":808},"The Great Mortality: An Intimate History of the Black Death, the Most Devastating Plague of All Time ",{"data":15539,"marks":15540,"value":15541,"nodeType":147},{},[],"(New York: HarperCollins, 2005). ",{"data":15543,"content":15544,"nodeType":6423},{},[15545],{"data":15546,"marks":15547,"value":15548,"nodeType":147},{},[],"19 UK Met Office, ‘The Great Smog of 1952’, https:\u002F\u002Fwww.metoffice.gov.uk\u002Fweather\u002Flearn- about\u002Fweather\u002Fcase-studies\u002Fgreat-smog. 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",{"data":15582,"content":15583,"nodeType":6423},{},[15584,15588,15592],{"data":15585,"marks":15586,"value":15587,"nodeType":147},{},[],"22 Leeum, Samsung Museum of Art, ",{"data":15589,"marks":15590,"value":15124,"nodeType":147},{},[15591],{"type":808},{"data":15593,"marks":15594,"value":15595,"nodeType":147},{},[],", 5 September – 29 December 2024, Leeum Museum of Art, Seoul. ",{"data":15597,"content":15598,"nodeType":143},{},[15599],{"data":15600,"marks":15601,"value":219,"nodeType":147},{},[],[15603],"apply non-breaking space in front of en dashes",{"metadata":15605,"sys":15608,"fields":15613},{"tags":15606,"concepts":15607},[],[],{"space":15609,"id":13294,"type":212,"createdAt":13295,"updatedAt":13296,"environment":15611,"publishedVersion":2930,"revision":26,"locale":31},{"sys":15610},{"type":14,"linkType":15,"id":16},{"sys":15612},{"id":23,"type":14,"linkType":24},{"title":13300,"description":13301,"file":15614},{"url":13303,"details":15615,"fileName":13308,"contentType":482},{"size":13305,"image":15616},{"width":7311,"height":13307},{"metadata":15618,"sys":15621,"fields":15632},{"tags":15619,"concepts":15620},[],[],{"space":15622,"id":15624,"type":18,"createdAt":15625,"updatedAt":15626,"environment":15627,"publishedVersion":15629,"revision":26,"contentType":15630,"locale":31},{"sys":15623},{"type":14,"linkType":15,"id":16},"7nSBX2CaePpBt9smE9Bekq","2025-11-06T22:30:16.799Z","2026-01-20T14:58:43.408Z",{"sys":15628},{"id":23,"type":14,"linkType":24},15,{"sys":15631},{"type":14,"linkType":29,"id":3211},{"name":15633,"slug":15634,"issue":3215,"title":15635,"author":15636,"locationName":15637,"hero":15638,"sections":15698,"thumbnailImage":17430},"Situating a Body within the Cosmos","situating-a-body-within-the-cosmos","Situating a Body within the Cosmos: Healing, Stereotypes, and the Colonial Hangover of Wellness","Rosalia Namsai Engchuan","Thailand",{"metadata":15639,"sys":15642,"fields":15652},{"tags":15640,"concepts":15641},[],[],{"space":15643,"id":15645,"type":18,"createdAt":15646,"updatedAt":15647,"environment":15648,"publishedVersion":901,"revision":51,"contentType":15650,"locale":31},{"sys":15644},{"type":14,"linkType":15,"id":16},"PSR3zsPXAzC4shogUB38c","2026-01-19T10:02:41.226Z","2026-01-20T13:07:09.150Z",{"sys":15649},{"id":23,"type":14,"linkType":24},{"sys":15651},{"type":14,"linkType":29,"id":3231},{"name":15633,"title":15653,"imageOption":3499,"imagesDisplay":15654,"imageRatio":5755,"image":15655,"imageSecond":15678},"Situating a Body within the Cosmos hero",[3545,6774,5753,5754],{"metadata":15656,"sys":15659,"fields":15667},{"tags":15657,"concepts":15658},[],[],{"space":15660,"id":15662,"type":212,"createdAt":15663,"updatedAt":15664,"environment":15665,"publishedVersion":25,"revision":51,"locale":31},{"sys":15661},{"type":14,"linkType":15,"id":16},"3rYLLh3iwkotDrsf7YkrA8","2026-01-19T09:45:29.978Z","2026-01-20T12:50:11.031Z",{"sys":15666},{"id":23,"type":14,"linkType":24},{"title":15668,"description":15669,"file":15670},"images-138","The Tree of Life is an energetic ritual rooted in intuitive source wisdom for life-or-death moments. Here performed by women in Chao Mai for the birth of Saeng-Fah, 1995. Photography by Thairat Lim. Courtesy Tarini Graham.\n\nพิธีกรรมต้นไม้แห่งชีวิต\nคือพิธีกรรมเน้นด้านพลังงานที่สืบธรรมเนียมมาจากภูมิปัญญาทางสัญชาตญาณที่เกิดขึ้นในช่วงเป็น-ตาย\nในภาพคือการประกอบพิธีกรรมโดยหญิงสาวจากชุมชนบ้านเจ้าไหมในการทำคลอดของ ‘แสงฟ้า.’ ภาพโดย ไทยรัฐ\nลิ้ม. ภาพอนุเคราะห์โดย ธารินี แกรแฮม.",{"url":15671,"details":15672,"fileName":15677,"contentType":228},"\u002F\u002Fimages.ctfassets.net\u002F2urh0izv0sep\u002F3rYLLh3iwkotDrsf7YkrA8\u002Fb466a07f7fd252683acdd943a5dab313\u002Fimages-138.png",{"size":15673,"image":15674},15313111,{"width":15675,"height":15676},2692,3567,"images-138.png",{"metadata":15679,"sys":15682,"fields":15689},{"tags":15680,"concepts":15681},[],[],{"space":15683,"id":15685,"type":212,"createdAt":15686,"updatedAt":15686,"environment":15687,"publishedVersion":91,"revision":216,"locale":31},{"sys":15684},{"type":14,"linkType":15,"id":16},"17bAm9V9N1hqFiOvkJ6fAr","2026-01-19T10:02:35.456Z",{"sys":15688},{"id":23,"type":14,"linkType":24},{"title":15690,"description":219,"file":15691},"page-053-right",{"url":15692,"details":15693,"fileName":15697,"contentType":228},"\u002F\u002Fimages.ctfassets.net\u002F2urh0izv0sep\u002F17bAm9V9N1hqFiOvkJ6fAr\u002Fbebb6aef942efd5fc86c9e485506250c\u002Fpage-053-right.png",{"size":15694,"image":15695},353058,{"width":15696,"height":5788},1358,"page-053-right.png",[15699],{"metadata":15700,"sys":15703,"fields":15714},{"tags":15701,"concepts":15702},[],[],{"space":15704,"id":15706,"type":18,"createdAt":15707,"updatedAt":15708,"environment":15709,"publishedVersion":15711,"revision":2418,"contentType":15712,"locale":31},{"sys":15705},{"type":14,"linkType":15,"id":16},"4TEpbZBhlsPDhK9P2MtRXH","2026-01-19T12:35:09.134Z","2026-01-20T13:09:39.534Z",{"sys":15710},{"id":23,"type":14,"linkType":24},193,{"sys":15713},{"type":14,"linkType":29,"id":3271},{"title":15715,"text":15716,"assetsOptions":17428,"textOptions":17429},"Situating a Body within the Cosmos text (en)",{"nodeType":139,"data":15717,"content":15718},{},[15719,15736,15742,15749,15756,15763,15788,15795,15803,15818,15883,15890,15921,15941,15956,15971,16012,16031,16050,16057,16065,16079,16103,16127,16151,16161,16227,16234,16241,16259,16297,16363,16370,16397,16405,16428,16435,16458,16473,16516,16527,16534,16576,16592,16638,16680,16703,16726,16789,16800,16815,16823,16830,16845,16852,16859,16874,16881,16887,16890,16915,16921,16937,16943,16958,16964,16971,16977,16993,16999,17024,17030,17037,17043,17059,17065,17099,17105,17121,17127,17143,17149,17165,17171,17187,17193,17209,17215,17231,17237,17244,17250,17266,17272,17279,17285,17302,17308,17333,17339,17365,17371,17378,17384,17409,17415,17422],{"nodeType":5812,"data":15720,"content":15721},{},[15722,15727,15731],{"nodeType":147,"value":15723,"marks":15724,"data":15726},"In Thailand, healing has never simply meant wellness. Rosalia Namsai Engchuan maps the passage from cosmotechnic healing to commodifified care. Tracing the distance between ",[15725],{"type":808},{},{"nodeType":147,"value":15728,"marks":15729,"data":15730},"yu fai",[],{},{"nodeType":147,"value":15732,"marks":15733,"data":15735}," – a postpartum fifire ritual rooted in cosmotechnics – and the sleek interiors of global spas, she asks what it means to situate a body once again within the cosmos, and to keep relationality and ritual alive. ",[15734],{"type":808},{},{"nodeType":143,"data":15737,"content":15738},{},[15739],{"nodeType":147,"value":219,"marks":15740,"data":15741},[],{},{"nodeType":5812,"data":15743,"content":15744},{},[15745],{"nodeType":147,"value":15746,"marks":15747,"data":15748},"Image worlds and wounds within a larger scream ",[],{},{"nodeType":143,"data":15750,"content":15751},{},[15752],{"nodeType":147,"value":15753,"marks":15754,"data":15755},"Growing up in Germany, my access to Thai culture was fragmented and distorted through the lens of stereotype. In the absence of real Thai women around me, I came to know myself through images I did not create: the submissive masseuse, the greedy prostitute or the mail-order bride. I remember the momentary freeze in my body when someone would smile and ask, again, if I could give them a Thai massage. I felt the need to distance myself from whatever that was. My therapist once suggested that my decision to do a PhD might have been mostly about disproving this image. She is probably right. ",[],{},{"nodeType":143,"data":15757,"content":15758},{},[15759],{"nodeType":147,"value":15760,"marks":15761,"data":15762},"Later, I began to trace where that image came from. I found its outlines in the histories of the American War in Vietnam, the sex tourism boom that followed, and the migration of rural Thai women whose lives were upended by state-led development projects. Many were funnelled into the growing tourism economies of Pattaya and other beach destinations, or into transnational marriages forged through economic precarity. She – the figure of the Thai Woman – did not simply emerge from cultural misrepresentation. She was assembled at the juncture of global militarism, capitalist desire, and uneven development. ",[],{},{"nodeType":143,"data":15764,"content":15765},{},[15766,15770,15775,15779,15784],{"nodeType":147,"value":15767,"marks":15768,"data":15769},"She appears in early Thai Airways advertisements, smiling with an orchid in her hands, promising the fantasy of exotic servitude. She reappears as the punchline of a tasteless joke in ",[],{},{"nodeType":147,"value":15771,"marks":15772,"data":15774},"The Hangover II",[15773],{"type":808},{},{"nodeType":147,"value":15776,"marks":15777,"data":15778},", when Stu – a white, heterosexual American man – discovers he has slept with a Thai transgender woman in a Bangkok strip club. In ",[],{},{"nodeType":147,"value":15780,"marks":15781,"data":15783},"Sex and the City",[15782],{"type":808},{},{"nodeType":147,"value":15785,"marks":15786,"data":15787},", Samantha’s encounter with Sum, the Thai servant of her real-estate developer lover, maps the racial limits of white liberal feminism. Sum is obedient only to her master in a trope that casts Thai femininity as both submissive and scheming. These are not just isolated lapses into bad taste, nor simply instances of racism and homophobia; they form part of a broader cinematic and geopolitical pattern in which Thai femininity is constructed as inherently sexual, compliant, and transactional. On mainstream screens, the Thai woman is always available, always smiling, never complex. ",[],{},{"nodeType":143,"data":15789,"content":15790},{},[15791],{"nodeType":147,"value":15792,"marks":15793,"data":15794},"This essay locates a wound within a larger scream: the scripting of Thai women into eroticised stereotypes and the simultaneous commodification of Thai massage into a globally consumable service. Both move in parallel as paired projections that flatten complexity into extractive fantasy. In anticipation of other worlds beyond the inherited fictions, these stories follow Thai massage not only back in time, but back to its ontological ground. ",[],{},{"nodeType":5812,"data":15796,"content":15797},{},[15798],{"nodeType":147,"value":15799,"marks":15800,"data":15802},"What are we healing from? Epistemic violence, state simplification, and the erasure of cosmotechnics in Siam ",[15801],{"type":290},{},{"nodeType":143,"data":15804,"content":15805},{},[15806,15810,15814],{"nodeType":147,"value":15807,"marks":15808,"data":15809},"The history of healing since the encounter with White Man in Siam is a tragic case study in how epistemic violence and state simplification put to shambles the worlds of so many.",[],{},{"nodeType":147,"value":5866,"marks":15811,"data":15813},[15812],{"type":5869},{},{"nodeType":147,"value":15815,"marks":15816,"data":15817},"  In early nineteenth-century Siam, epistemic violence unfolded when midwives, gender-fluid shamans, and healers were stripped of their authority and their cosmotechnical practices were reclassified as cruel superstition. Through missionary encounters, anatomical images, royal codifications, and modern laws, they were turned into shadows of their former power. The result was not only a new medical order but a profound reconfiguration of knowledge, gender, and cosmology. What became celebrated as ‘modernisation’ was also, simultaneously, a gendered purge of cosmological world-making practices. ",[],{},{"nodeType":5945,"data":15819,"content":15882},{"target":15820},{"metadata":15821,"sys":15824,"fields":15833},{"tags":15822,"concepts":15823},[],[],{"space":15825,"id":15827,"type":18,"createdAt":15828,"updatedAt":15828,"environment":15829,"publishedVersion":26,"revision":216,"contentType":15831,"locale":31},{"sys":15826},{"type":14,"linkType":15,"id":16},"4RtORKuCy97XsmZUP3nykS","2026-01-19T10:07:26.249Z",{"sys":15830},{"id":23,"type":14,"linkType":24},{"sys":15832},{"type":14,"linkType":29,"id":5961},{"name":15834,"images":15835,"visibility":5987,"galleryFormat":5988,"gallerySize":7569,"gridColumns":6015,"gridSpacing":5990,"scrollImageSize":5989,"imageOptions":15881},"Situating a Body within the Cosmos gallery 1",[15836,15859],{"metadata":15837,"sys":15840,"fields":15848},{"tags":15838,"concepts":15839},[],[],{"space":15841,"id":15843,"type":212,"createdAt":15844,"updatedAt":15845,"environment":15846,"publishedVersion":1078,"revision":91,"locale":31},{"sys":15842},{"type":14,"linkType":15,"id":16},"3EUg16S6pDi6aazXbEmhUc","2026-01-19T09:53:43.131Z","2026-01-20T13:04:36.437Z",{"sys":15847},{"id":23,"type":14,"linkType":24},{"title":15849,"description":15850,"file":15851},"images-139","Yu fai displayed at a 1900 medical exhibition as an ‘ethnographic curiosity’, stripped of its cosmological and relational meanings to affirm Western medicine’s civilsiing mission. Courtesy Thai National Archives.",{"url":15852,"details":15853,"fileName":15858,"contentType":228},"\u002F\u002Fimages.ctfassets.net\u002F2urh0izv0sep\u002F3EUg16S6pDi6aazXbEmhUc\u002Fc6cef1ac81aaa3a621ffc48a508b1fea\u002Fimages-139.png",{"size":15854,"image":15855},1313445,{"width":15856,"height":15857},1127,754,"images-139.png",{"metadata":15860,"sys":15863,"fields":15871},{"tags":15861,"concepts":15862},[],[],{"space":15864,"id":15866,"type":212,"createdAt":15867,"updatedAt":15868,"environment":15869,"publishedVersion":1078,"revision":91,"locale":31},{"sys":15865},{"type":14,"linkType":15,"id":16},"4v1OU4E9ebIdgf5Az29PWT","2026-01-19T09:53:43.125Z","2026-01-20T13:04:56.785Z",{"sys":15870},{"id":23,"type":14,"linkType":24},{"title":15872,"description":15873,"file":15874},"images-140","A smiling Thai woman in between Western guardian figures at Wat Pho, embodying the nation’s role on the affective frontlines of the Cold War that would soon become the American war in Vietnam. _East Meets West in Thailand_ (Mutual Security Agency, 1951–53). Courtesy U.S. Government (Public domain).",{"url":15875,"details":15876,"fileName":15880,"contentType":228},"\u002F\u002Fimages.ctfassets.net\u002F2urh0izv0sep\u002F4v1OU4E9ebIdgf5Az29PWT\u002F342b6eb912dc1e0bf4761141e5321b71\u002Fimages-140.png",{"size":15877,"image":15878},1906591,{"width":15879,"height":3963},786,"images-140.png",[4640],[],{"nodeType":143,"data":15884,"content":15885},{},[15886],{"nodeType":147,"value":15887,"marks":15888,"data":15889},"This erasure was not a single rupture but an unfolding sequence of translations. It began with American missionary doctors like Dan Beach Bradley expelling the midwife from the birthing chamber, one particular account still lingers with me: ",[],{},{"nodeType":8159,"data":15891,"content":15892},{},[15893],{"nodeType":143,"data":15894,"content":15895},{},[15896,15900,15905,15909,15914,15918],{"nodeType":147,"value":15897,"marks":15898,"data":15899},"On the evening of December 28, 1835, Bradley was called to assist at a birth within the royal palace. He later recalled the scene in his diary: ",[],{},{"nodeType":147,"value":15901,"marks":15902,"data":15904},"‘",[15903],{"type":808},{},{"nodeType":147,"value":15906,"marks":15907,"data":15908},"The chamber was surrounded by a multitude of old women who affected wondrous wisdom in the treatment of their patient. . . . in the company of a number of midwives and female attendants. Surely the tender mercies of the heathen are cruelty.",[],{},{"nodeType":147,"value":15910,"marks":15911,"data":15913},"’ ",[15912],{"type":808},{},{"nodeType":147,"value":6015,"marks":15915,"data":15917},[15916],{"type":5869},{},{"nodeType":147,"value":6213,"marks":15919,"data":15920},[],{},{"nodeType":143,"data":15922,"content":15923},{},[15924,15928,15932,15936],{"nodeType":147,"value":15925,"marks":15926,"data":15927},"What he describes was ",[],{},{"nodeType":147,"value":15728,"marks":15929,"data":15931},[15930],{"type":808},{},{"nodeType":147,"value":15933,"marks":15934,"data":15935},", a resting-by-the-fire ritual held for the new mother and her child. Bradley’s phrasing reveals a lot about his lack of respect and understanding of what he was looking at. Yet, ‘he was adamant that he would not provide medical care to Pin Klao’s wife unless the midwives and other attendants would cease their traditional practices and her care was charged to him alone.’",[],{},{"nodeType":147,"value":15937,"marks":15938,"data":15940},"3 ",[15939],{"type":5869},{},{"nodeType":143,"data":15942,"content":15943},{},[15944,15948,15952],{"nodeType":147,"value":15945,"marks":15946,"data":15947},"In that room, two worlds collided and could not coexist. One figure walked out as the embodiment of progress – the enlightened medicine man. The other slipped out the back door, disappearing from official records. Bradley’s demand was not only medical but epistemological. He displaced the authority of midwives and elders in order to install himself as the sole arbiter of truth. On a mission no-one asked for, Bradley imagined himself as a saviour of Thai women from the cruelties of native midwifery. Once again ‘white men saving brown women’ in this instantiation, from their female elders.",[],{},{"nodeType":147,"value":6183,"marks":15949,"data":15951},[15950],{"type":5869},{},{"nodeType":147,"value":15953,"marks":15954,"data":15955}," Such encounters installed racial and gendered hierarchies of wisdom, elevating the clinical and foreign over the local and relational. ",[],{},{"nodeType":143,"data":15957,"content":15958},{},[15959,15963,15967],{"nodeType":147,"value":15960,"marks":15961,"data":15962},"Bradley’s dismissal of the midwife was followed by new visual regimes that further entrenched the logic of the medical gaze.",[],{},{"nodeType":147,"value":6208,"marks":15964,"data":15966},[15965],{"type":5869},{},{"nodeType":147,"value":15968,"marks":15969,"data":15970}," He commissioned local artists to produce anatomical drawings of isolated organs, printed on a press he himself imported from Singapore. Here, organs appear suspended in a blank void of nothingness. Detached from the body and rhythms of blood, breath, and season. In scientific publications all over the world, these images did more than illustrate Western medicine; they reconfigured how people related to their own bodies, to cycles of time, and to nature itself. They laid the visual and ideological foundations for what would later solidify into the medical-industrial complex. ",[],{},{"nodeType":143,"data":15972,"content":15973},{},[15974,15978,15983,15986,15990,15994,15999,16003,16008],{"nodeType":147,"value":15975,"marks":15976,"data":15977},"Confronted with the looming danger of being colonised under the accusation of ‘underdevelopment’, Siamese rulers turned to what Michael Herzfeld later called ",[],{},{"nodeType":147,"value":15979,"marks":15980,"data":15982},"crypto-colonialism",[15981],{"type":808},{},{"nodeType":147,"value":822,"marks":15984,"data":15985},[],{},{"nodeType":147,"value":6240,"marks":15987,"data":15989},[15988],{"type":5869},{},{"nodeType":147,"value":15991,"marks":15992,"data":15993}," As a reactive manoeuvre and calculated counterpoint to the spread of modern anatomical images in Siam, King Rama III transformed the temple grounds of Wat Pho into a state-sanctioned site of medical authority reimagined as a public university. In the temple gardens, statues of forest hermits (",[],{},{"nodeType":147,"value":15995,"marks":15996,"data":15998},"reusi dat ton",[15997],{"type":808},{},{"nodeType":147,"value":16000,"marks":16001,"data":16002},") were arranged in stretching poses. On the walls of ",[],{},{"nodeType":147,"value":16004,"marks":16005,"data":16007},"salas ",[16006],{"type":808},{},{"nodeType":147,"value":16009,"marks":16010,"data":16011},"(pavilions), bodies and sen lines (the subtle currents that connect human form to elements, seasons, and unseen forces) were carved into stone. This insistence on multidimensional bodies was a cosmological intervention into Western-dominated modernisation processes. Cosmotechnical practices were protected from vanishing, even as they were disciplined into forms the state could monitor, teach, and claim. A shield against colonial accusations of backwardness and at the same time a trap that later on made Thai healing legible to bureaucratic control. ",[],{},{"nodeType":143,"data":16013,"content":16014},{},[16015,16019,16023,16027],{"nodeType":147,"value":16016,"marks":16017,"data":16018},"More absurd still, this codification and universalisation moved directly against the nature of Thai healing itself. It had never been a single bounded system but a shifting constellation – responsive to the times, porous to Indian, Chinese, Khmer, Tibetan, Indigenous Tai, and later Western influences. Its vitality lay in responsiveness. As part of my research into Thai healing, I keep on speaking to Tarini, a traditional midwife, who describes herself as ‘a guardian of the entrances and exits to the cycles and also to the universe.",[],{},{"nodeType":147,"value":15910,"marks":16020,"data":16022},[16021],{"type":808},{},{"nodeType":147,"value":16024,"marks":16025,"data":16026},"She reminds us: ‘The minute it becomes static or objectified knowledge, by default we disconnect from the cycle . . . and then it ceases to be alive.",[],{},{"nodeType":147,"value":15910,"marks":16028,"data":16030},[16029],{"type":808},{},{"nodeType":143,"data":16032,"content":16033},{},[16034,16038,16042,16046],{"nodeType":147,"value":16035,"marks":16036,"data":16037},"The impulse to standardise and fix knowledge arose under the shadow of colonial scrutiny, where fluid practices had to be made legible as 'tradition' in order to count as modern. This is the colonial hangover: the craving for authenticity imposed from without, which continues to distort how healing is remembered, displayed, and regulated today. Not only indigenous worldviews but also relational philosophy knows that the very act of turning ‘tradition’ into a bounded object is a category mistake.",[],{},{"nodeType":147,"value":6306,"marks":16039,"data":16041},[16040],{"type":5869},{},{"nodeType":147,"value":16043,"marks":16044,"data":16045}," There are no objects, as Anna Tsing reminds us, only precarious, generative constellations, assemblages as ‘open-ended gatherings’ among different beings.",[],{},{"nodeType":147,"value":7870,"marks":16047,"data":16049},[16048],{"type":5869},{},{"nodeType":143,"data":16051,"content":16052},{},[16053],{"nodeType":147,"value":16054,"marks":16055,"data":16056},"By the early twentieth century, the tides had turned towards a full embrace of biomedicine. Siriraj Hospital, once home to both Western and traditional medicine, closed its traditional wing in 1915. By 1936, the Act for the Control of the Practice of the Art of Healing outlawed spiritual, magical, and orally transmitted forms of care. The state simplification project reached its conclusion. Midwives, shamans, forest hermits, and plant healers – once central to communal life – were displaced by state-certified professionals. ",[],{},{"nodeType":5812,"data":16058,"content":16059},{},[16060],{"nodeType":147,"value":16061,"marks":16062,"data":16064},"The womb that mothers the mother, the world that mothers us all ",[16063],{"type":290},{},{"nodeType":10294,"data":16066,"content":16067},{},[16068,16072,16076],{"nodeType":147,"value":16069,"marks":16070,"data":16071},"The world of ",[],{},{"nodeType":147,"value":15728,"marks":16073,"data":16075},[16074],{"type":808},{},{"nodeType":147,"value":6213,"marks":16077,"data":16078},[],{},{"nodeType":143,"data":16080,"content":16081},{},[16082,16086,16090,16094,16099],{"nodeType":147,"value":16083,"marks":16084,"data":16085},"When Dr. Bradley stepped into the birthing chamber, he entered not just a room but a world of ",[],{},{"nodeType":147,"value":15728,"marks":16087,"data":16089},[16088],{"type":808},{},{"nodeType":147,"value":16091,"marks":16092,"data":16093},". For generations, this practice was based on the wisdom that birth is not a single event but the beginning of a transformational cycle. Over the course of weeks, the mother is cocooned in warmth and herbs. On the other side of this passage, she is mentally, spiritually, energetically, and physically elevated. ",[],{},{"nodeType":147,"value":16095,"marks":16096,"data":16098},"Yu fai ",[16097],{"type":808},{},{"nodeType":147,"value":16100,"marks":16101,"data":16102},"is, in essence, the womb that mothers the mother. It is one of many Thai botanical–elemental–spiritual assemblages that safeguard cycles of transformation by intentionally connecting to all the dimensions of the cosmos. ",[],{},{"nodeType":143,"data":16104,"content":16105},{},[16106,16110,16114,16118,16123],{"nodeType":147,"value":16107,"marks":16108,"data":16109},"Two weeks after my daughter was born, a ",[],{},{"nodeType":147,"value":15728,"marks":16111,"data":16113},[16112],{"type":808},{},{"nodeType":147,"value":16115,"marks":16116,"data":16117}," practitioner came to our home and set up a tent in our shower. Inside, she placed a rice cooker filled with boiling herbs. Inhaling the steam stirred something deep – it was almost unbearable at first. She encouraged me to slowly increase the duration of each session, starting with twenty minutes. By the fifth day, I was sitting for forty. It had become more bearable, even comforting. Each morning began with her adapted version of Thai massage, followed by herbal compresses and hot bricks warmed on a grill in our bedroom. After the steam, she poured hot herbal water over my sarong-covered body. Never in my life had I felt so tenderly held. My ",[],{},{"nodeType":147,"value":16119,"marks":16120,"data":16122},"yu fai ",[16121],{"type":808},{},{"nodeType":147,"value":16124,"marks":16125,"data":16126},"lingered with me. I wanted to understand what had moved me so deeply. ",[],{},{"nodeType":143,"data":16128,"content":16129},{},[16130,16134,16138,16142,16147],{"nodeType":147,"value":16131,"marks":16132,"data":16133},"Tarini listened carefully as I recounted my experience, which she recognised as ",[],{},{"nodeType":147,"value":15901,"marks":16135,"data":16137},[16136],{"type":808},{},{"nodeType":147,"value":16139,"marks":16140,"data":16141},"not the real thing’ but ‘wellness",[],{},{"nodeType":147,"value":16143,"marks":16144,"data":16146},"’",[16145],{"type":808},{},{"nodeType":147,"value":16148,"marks":16149,"data":16150},". The herbs should be fresh, she told me, and the ritual should begin immediately after birth and last longer. Her quiet insistence stayed with me, and our conversations continue to shift my entire world. ",[],{},{"nodeType":8159,"data":16152,"content":16153},{},[16154],{"nodeType":143,"data":16155,"content":16156},{},[16157],{"nodeType":147,"value":16158,"marks":16159,"data":16160},"‘ What we do not talk about much in the whole birthing realm is the subtle sense. It is the one that guides us to our expansive consciousness. And steam and smoke are its closest allies. All these herbs – this is a development of the subtle sense. It is not just staying by the fire – you are actually being introduced to these plants.’ ",[],{},{"nodeType":5945,"data":16162,"content":16226},{"target":16163},{"metadata":16164,"sys":16167,"fields":16176},{"tags":16165,"concepts":16166},[],[],{"space":16168,"id":16170,"type":18,"createdAt":16171,"updatedAt":16171,"environment":16172,"publishedVersion":51,"revision":216,"contentType":16174,"locale":31},{"sys":16169},{"type":14,"linkType":15,"id":16},"4pPvr9SjfMLUX5E5TUlGKn","2026-01-19T12:24:10.329Z",{"sys":16173},{"id":23,"type":14,"linkType":24},{"sys":16175},{"type":14,"linkType":29,"id":5961},{"name":16177,"images":16178,"visibility":5987,"galleryFormat":5988,"gallerySize":5989,"gridColumns":6015,"gridSpacing":5990,"scrollImageSize":5989,"imageOptions":16225},"Situating a Body within the Cosmos gallery 2",[16179,16202],{"metadata":16180,"sys":16183,"fields":16191},{"tags":16181,"concepts":16182},[],[],{"space":16184,"id":16186,"type":212,"createdAt":16187,"updatedAt":16188,"environment":16189,"publishedVersion":51,"revision":1123,"locale":31},{"sys":16185},{"type":14,"linkType":15,"id":16},"6D729w6vfqz4wfZMcnfoKp","2026-01-19T09:53:43.121Z","2026-01-19T12:23:46.328Z",{"sys":16190},{"id":23,"type":14,"linkType":24},{"title":16192,"description":16193,"file":16194},"images-143","An island at the mouth of a river before the advent of mass tourism in Thailand that turned white beaches into grey mud and rituals into superstition. This is also the place where the dream map led Tarini and where Sang-Fah was born. Chao Mai. Photography by Thairat Lim and Ian Mark Seymour Graham. Courtesy Tarini Graham.",{"url":16195,"details":16196,"fileName":16201,"contentType":228},"\u002F\u002Fimages.ctfassets.net\u002F2urh0izv0sep\u002F6D729w6vfqz4wfZMcnfoKp\u002Ffa42203df64ba198be509bcde8c12a4a\u002Fimages-143.png",{"size":16197,"image":16198},835861,{"width":16199,"height":16200},879,588,"images-143.png",{"metadata":16203,"sys":16206,"fields":16214},{"tags":16204,"concepts":16205},[],[],{"space":16207,"id":16209,"type":212,"createdAt":16210,"updatedAt":16211,"environment":16212,"publishedVersion":51,"revision":1123,"locale":31},{"sys":16208},{"type":14,"linkType":15,"id":16},"58OiuspAxrGIjNQtQQfGS4","2026-01-19T09:53:43.135Z","2026-01-19T12:23:55.509Z",{"sys":16213},{"id":23,"type":14,"linkType":24},{"title":16215,"description":16216,"file":16217},"images-144","Dancing delivery, 1995. Photography by Thairat Lim. Courtesy Tarini Graham.",{"url":16218,"details":16219,"fileName":16224,"contentType":228},"\u002F\u002Fimages.ctfassets.net\u002F2urh0izv0sep\u002F58OiuspAxrGIjNQtQQfGS4\u002F14e01e9d11487f19e2b3fc03da0ccf7f\u002Fimages-144.png",{"size":16220,"image":16221},1198996,{"width":16222,"height":16223},1003,694,"images-144.png",[4640],[],{"nodeType":143,"data":16228,"content":16229},{},[16230],{"nodeType":147,"value":16231,"marks":16232,"data":16233},"I interrupted her: ‘It is the learning of a language.’ We both had tears in our eyes. ",[],{},{"nodeType":143,"data":16235,"content":16236},{},[16237],{"nodeType":147,"value":16238,"marks":16239,"data":16240},"She continued: ",[],{},{"nodeType":8159,"data":16242,"content":16243},{},[16244],{"nodeType":143,"data":16245,"content":16246},{},[16247,16251,16255],{"nodeType":147,"value":16248,"marks":16249,"data":16250},"‘Which is why there are also prayers, there is also music. We are infusing the steam with sound. It is believed that each molecule of steam is carrying the essence of these plants and intentions to kickstart the system of the baby from its first breath but also to heal the system of the mother. This practice is based on a seven-dimensional consciousness as a baseline. The outer space – connecting, the cosmic ocean realms, the world of energy, spirits, elemental earth, the phenomenal world, the womb space and the inner space, the cellular cosmos that reflects the outer cosmos. From what I understand, ",[],{},{"nodeType":147,"value":16119,"marks":16252,"data":16254},[16253],{"type":808},{},{"nodeType":147,"value":16256,"marks":16257,"data":16258},"is calibrated for you to be aware of this. Even the mixture of herbs is aligned to creating that expansive consciousness in relation to you and the environment. This practice is not just what is happening in this dimension. It is a duty to connect to the whole seven-dimensional consciousness as a foundation.’ ",[],{},{"nodeType":143,"data":16260,"content":16261},{},[16262,16266,16270,16274,16278,16282,16286,16289,16293],{"nodeType":147,"value":16263,"marks":16264,"data":16265},"To see yu fai as a seven-dimensional practice is to glimpse a multidimensional and relational world-making. Here plants are chosen not only for their physiological effect but for their energetic vibrations. As active ritual participants they already know what to do.",[],{},{"nodeType":147,"value":6338,"marks":16267,"data":16269},[16268],{"type":5869},{},{"nodeType":147,"value":16271,"marks":16272,"data":16273}," Yu fai is a practice of relation. It enacts a body not only embodied, but embedded – woven into rhythms, elements, and dimensions that exceed the material. It extends Annemarie Mol’s notion of the body multiple toward a cosmological multiplicity, where healing is not repair of an isolated organism but alignment with a more-than-human system of relations.",[],{},{"nodeType":147,"value":6354,"marks":16275,"data":16277},[16276],{"type":5869},{},{"nodeType":147,"value":16279,"marks":16280,"data":16281}," Following Yuk Hui’s imperative to conceive of multiple cosmotechnics ‘which are different from each other not simply functionally and aesthetically, but also ontologically and cosmologically",[],{},{"nodeType":147,"value":16143,"marks":16283,"data":16285},[16284],{"type":808},{},{"nodeType":147,"value":8780,"marks":16287,"data":16288},[],{},{"nodeType":147,"value":6363,"marks":16290,"data":16292},[16291],{"type":5869},{},{"nodeType":147,"value":16294,"marks":16295,"data":16296}," yu fai can be read as a practice inseparable from a cosmology: a way of being in and making the world. To engage yu fai as cosmotechnics is to take seriously that healing requires rethinking the very terms of reality itself. We have to look at our ontological windows instead of merely through them. ",[],{},{"nodeType":5945,"data":16298,"content":16362},{"target":16299},{"metadata":16300,"sys":16303,"fields":16312},{"tags":16301,"concepts":16302},[],[],{"space":16304,"id":16306,"type":18,"createdAt":16307,"updatedAt":16307,"environment":16308,"publishedVersion":26,"revision":216,"contentType":16310,"locale":31},{"sys":16305},{"type":14,"linkType":15,"id":16},"jAS0jh2eqQ3qKWLzMKm8m","2026-01-19T12:46:18.868Z",{"sys":16309},{"id":23,"type":14,"linkType":24},{"sys":16311},{"type":14,"linkType":29,"id":5961},{"name":16313,"images":16314,"visibility":5987,"galleryFormat":5988,"gallerySize":5989,"gridColumns":5866,"gridSpacing":5990,"scrollImageSize":5989,"imageOptions":16361},"Situating a Body within the Cosmos 3",[16315,16338],{"metadata":16316,"sys":16319,"fields":16327},{"tags":16317,"concepts":16318},[],[],{"space":16320,"id":16322,"type":212,"createdAt":16323,"updatedAt":16324,"environment":16325,"publishedVersion":71,"revision":91,"locale":31},{"sys":16321},{"type":14,"linkType":15,"id":16},"7wO7T0YiTYvQ80owqFag4g","2026-01-19T09:53:43.128Z","2026-01-19T12:45:54.716Z",{"sys":16326},{"id":23,"type":14,"linkType":24},{"title":16328,"description":16329,"file":16330},"images-142","A role long erased from the gendered scripts of care. Chai Kasem Hawaa, the husband of the midwife entering the medicinal forest to collect herbs for the yu fai, Chao Mai, 1995. Photography by Thairat Lim. Courtesy Tarini Graham.",{"url":16331,"details":16332,"fileName":16337,"contentType":228},"\u002F\u002Fimages.ctfassets.net\u002F2urh0izv0sep\u002F7wO7T0YiTYvQ80owqFag4g\u002F9a1fcac278fbd7c900b9a3f5be6432aa\u002Fimages-142.png",{"size":16333,"image":16334},3123448,{"width":16335,"height":16336},1565,1101,"images-142.png",{"metadata":16339,"sys":16342,"fields":16350},{"tags":16340,"concepts":16341},[],[],{"space":16343,"id":16345,"type":212,"createdAt":16346,"updatedAt":16347,"environment":16348,"publishedVersion":51,"revision":1123,"locale":31},{"sys":16344},{"type":14,"linkType":15,"id":16},"3CAb5aa74At1u81HiizGhD","2026-01-19T09:53:43.108Z","2026-01-19T12:46:02.704Z",{"sys":16349},{"id":23,"type":14,"linkType":24},{"title":16351,"description":16352,"file":16353},"images-141","Chai Kasem Hawaa, the husband of the midwife walking back to the village carrying herbs for the yu fai, Chao Mai, 1995. Photography by Thairat Lim. Courtesy Tarini Graham.",{"url":16354,"details":16355,"fileName":16360,"contentType":228},"\u002F\u002Fimages.ctfassets.net\u002F2urh0izv0sep\u002F3CAb5aa74At1u81HiizGhD\u002F7a8a242082d49cf97b5d86bda605edfc\u002Fimages-141.png",{"size":16356,"image":16357},2799158,{"width":16358,"height":16359},1606,1131,"images-141.png",[4640],[],{"nodeType":143,"data":16364,"content":16365},{},[16366],{"nodeType":147,"value":16367,"marks":16368,"data":16369},"The disconnection from this way of seeing and being in the world leaves us stranded in a place we know too well: mass extinctions, climate collapse, care outsourced to markets, and a collective grief that no ritual can contain. ",[],{},{"nodeType":143,"data":16371,"content":16372},{},[16373,16377,16381,16385,16389,16393],{"nodeType":147,"value":16374,"marks":16375,"data":16376},"Extractive logics are killing us and yet we cling to them desperately. It is sadly easier to imagine the end of the world than it is to imagine the end of colonial capitalism.",[],{},{"nodeType":147,"value":8037,"marks":16378,"data":16380},[16379],{"type":5869},{},{"nodeType":147,"value":16382,"marks":16383,"data":16384}," They flatten living systems into legible units for state or market use, turning living worlds into resources to be mined. In these extractive zones, midwifery becomes superstition, plants become ingredients, rituals become wellness protocols and humans become proxy-figures.",[],{},{"nodeType":147,"value":8053,"marks":16386,"data":16388},[16387],{"type":5869},{},{"nodeType":147,"value":16390,"marks":16391,"data":16392}," What is celebrated as rational development results in alienation, severing us from each other, our environments, our rhythms, our more-than-human kin. The hierarchies and divisions that structure modernity – racism, patriarchy, extractivism – are not separate problems but expressions of the same architecture. As Fred Moten and Stefano Harney put it: ‘This shit is killing you, too, however much more softly, you stupid motherfucker, you know?’",[],{},{"nodeType":147,"value":8102,"marks":16394,"data":16396},[16395],{"type":5869},{},{"nodeType":5812,"data":16398,"content":16399},{},[16400],{"nodeType":147,"value":16401,"marks":16402,"data":16404},"Happy endings and cruel optimisms: Thai massage, stereotypes, and the colonial hangover of wellness ",[16403],{"type":290},{},{"nodeType":143,"data":16406,"content":16407},{},[16408,16412,16416,16420,16424],{"nodeType":147,"value":16409,"marks":16410,"data":16411},"Today, the most visible remnant of this vast healing cosmology is – ironically – Thai massage. Thai massage became a shapeshifter, a testament that survival ",[],{},{"nodeType":147,"value":15901,"marks":16413,"data":16415},[16414],{"type":808},{},{"nodeType":147,"value":16417,"marks":16418,"data":16419},"in capitalist ruins’ depends on ‘symbiosis’ – even when that symbiosis is with the very forces of commodification and erasure.",[],{},{"nodeType":147,"value":8170,"marks":16421,"data":16423},[16422],{"type":5869},{},{"nodeType":147,"value":16425,"marks":16426,"data":16427}," Long before it became a wellness trend or national brand, Thai massage was part of a system of communal care. Intimately entangled with the Thai Woman stereotype, and often inseparable from each other, Thai Massage is a modern construct that has been packaged, certified, and sold.  ",[],{},{"nodeType":143,"data":16429,"content":16430},{},[16431],{"nodeType":147,"value":16432,"marks":16433,"data":16434},"Such survival-in-distortion did not happen in a vacuum. It was forged through encounters with state power, militarism, tourism, and global wellness markets that continually tore massage from its cosmological ground. Codified at Wat Pho in the nineteenth century, massage was made legible to the state and separated from other healing lineages. By the twentieth century, this separation hardened. Medicine was elevated as clinical and scientific, while massage was pushed into a feminised, commodified, exoticised register of relaxation. Singled out as the emblem of Thai healing, it became hyper-visible, but only as fragment and distortion. ",[],{},{"nodeType":143,"data":16436,"content":16437},{},[16438,16442,16446,16450,16454],{"nodeType":147,"value":16439,"marks":16440,"data":16441},"The production of that superficial visibility can be traced through the twentieth century. During the American War in Vietnam thousands of soldiers passed through Bangkok, Pattaya, and Udon Thani, transforming agricultural villages into informal military leisure zones. While prostitution was officially banned, it was tacitly tolerated for the foreign currency and geopolitical favour it brought.",[],{},{"nodeType":147,"value":8241,"marks":16443,"data":16445},[16444],{"type":5869},{},{"nodeType":147,"value":16447,"marks":16448,"data":16449}," In this moral grey zone, Thai massage became both a moral problem and an economic solution: a soft front for a much harder economy of militarisation and desire. The result was the creation of an eroticised labour class, commodified and stigmatised – a process that glued Thai women’s bodies to the service of massage in the global imaginary. From this moment onward, ‘Thai massage’ and ‘Thai woman’ travelled together as intertwined stereotypes: compliant, exotic, available. A legacy that peaks every time Thai women are perpetually asked for a ",[],{},{"nodeType":147,"value":15901,"marks":16451,"data":16453},[16452],{"type":808},{},{"nodeType":147,"value":16455,"marks":16456,"data":16457},"happy ending’. ",[],{},{"nodeType":143,"data":16459,"content":16460},{},[16461,16465,16469],{"nodeType":147,"value":16462,"marks":16463,"data":16464},"When Thailand became a stop on the overland hippie trail from Goa, spiritual seekers, disillusioned with capitalist alienation and the warmongering of the West, drifted into Chiang Mai and other northern towns. They brought not only the desire to receive healing but to possess it. Thai massage was learned through intimate apprenticeship, sharpening the subtle senses over years of repetition. The influx of foreigners shifted this modality.",[],{},{"nodeType":147,"value":8257,"marks":16466,"data":16468},[16467],{"type":5869},{},{"nodeType":147,"value":16470,"marks":16471,"data":16472}," The now-familiar sequence – feet to head, flips, side stretches – emerged from this epistemic flattening. Designed for tourists and foreign students, an intuitive practice was translated into a step-by-step routine. ",[],{},{"nodeType":5945,"data":16474,"content":16515},{"target":16475},{"metadata":16476,"sys":16479,"fields":16488},{"tags":16477,"concepts":16478},[],[],{"space":16480,"id":16482,"type":18,"createdAt":16483,"updatedAt":16483,"environment":16484,"publishedVersion":91,"revision":216,"contentType":16486,"locale":31},{"sys":16481},{"type":14,"linkType":15,"id":16},"4kE4OaartM6P8KHdqi39Yd","2026-01-19T12:47:13.383Z",{"sys":16485},{"id":23,"type":14,"linkType":24},{"sys":16487},{"type":14,"linkType":29,"id":5961},{"name":16489,"images":16490,"visibility":5987,"galleryFormat":5988,"gallerySize":7569,"gridColumns":5866,"gridSpacing":5990,"scrollImageSize":5989,"imageOptions":16514},"Situating a Body within the Cosmos 4",[16491],{"metadata":16492,"sys":16495,"fields":16503},{"tags":16493,"concepts":16494},[],[],{"space":16496,"id":16498,"type":212,"createdAt":16499,"updatedAt":16500,"environment":16501,"publishedVersion":1078,"revision":91,"locale":31},{"sys":16497},{"type":14,"linkType":15,"id":16},"3TJ6DfkVZ2jdDNfWPQqPOm","2026-01-19T09:53:43.113Z","2026-01-20T09:33:52.940Z",{"sys":16502},{"id":23,"type":14,"linkType":24},{"title":16504,"description":16505,"file":16506},"images-145","A glimpse into the institutionalisation of Thai massage as formalized heritage within the Wat Pho curriculum. Practitioners on a break, Bangkok, 2012. Photography by Pedro Figueiredo. Courtesy Wikimedia Commons (CC BY-SA 3.0).",{"url":16507,"details":16508,"fileName":16513,"contentType":228},"\u002F\u002Fimages.ctfassets.net\u002F2urh0izv0sep\u002F3TJ6DfkVZ2jdDNfWPQqPOm\u002F15a5657aed08922a305a066cd6e6f94c\u002Fimages-145.png",{"size":16509,"image":16510},402039,{"width":16511,"height":16512},533,358,"images-145.png",[4640],[],{"nodeType":143,"data":16517,"content":16518},{},[16519,16523],{"nodeType":147,"value":16520,"marks":16521,"data":16522},"Tourism and air travel only accelerated these changes. Massage shops mushroomed, and by the 1980s, its popularity could no longer be ignored by the state. In response, the government launched the Thai Massage Revival Project (1985) and later established the Institute of Thai Traditional Medicine (1993). The version it promoted was a codified technique of pressure along sen lines, requiring minimal body contact and suitable for the global stage.",[],{},{"nodeType":147,"value":10975,"marks":16524,"data":16526},[16525],{"type":5869},{},{"nodeType":143,"data":16528,"content":16529},{},[16530],{"nodeType":147,"value":16531,"marks":16532,"data":16533},"This state-driven industrialisation of Thai Traditional Medicine displaced a vibrant pluralism, where multiple modalities once coexisted. Unlicensed healers who continue to practise outside standardised forms are pushed to the margins. Though many still offer their services, their illegitimate status makes it difficult to make a living or transmit their knowledge. Many completed the state curriculum, but the real training came through lineage and far exceeds the official syllabus. Those healers embody what we might call enchanted modernities. They carry rhythms that persist outside the medical-industrial complex. However, when they can no longer teach or practise, what is lost is not ‘tradition’, but the capacity to live in relation. ",[],{},{"nodeType":5945,"data":16535,"content":16575},{"target":16536},{"metadata":16537,"sys":16540,"fields":16549},{"tags":16538,"concepts":16539},[],[],{"space":16541,"id":16543,"type":18,"createdAt":16544,"updatedAt":16544,"environment":16545,"publishedVersion":51,"revision":216,"contentType":16547,"locale":31},{"sys":16542},{"type":14,"linkType":15,"id":16},"2NlW8BHrO0xeDGsvfYLpra","2026-01-19T12:47:56.970Z",{"sys":16546},{"id":23,"type":14,"linkType":24},{"sys":16548},{"type":14,"linkType":29,"id":5961},{"name":16550,"images":16551,"visibility":5987,"galleryFormat":5988,"gallerySize":5989,"gridColumns":5866,"gridSpacing":5990,"scrollImageSize":5989,"imageOptions":16574},"Situating a Body within the Cosmos 5",[16552],{"metadata":16553,"sys":16556,"fields":16564},{"tags":16554,"concepts":16555},[],[],{"space":16557,"id":16559,"type":212,"createdAt":16560,"updatedAt":16561,"environment":16562,"publishedVersion":51,"revision":1123,"locale":31},{"sys":16558},{"type":14,"linkType":15,"id":16},"3szNLDjNye3B6b0dnagjo9","2026-01-19T09:53:43.096Z","2026-01-19T12:47:50.895Z",{"sys":16563},{"id":23,"type":14,"linkType":24},{"title":16565,"description":16566,"file":16567},"images-147","The colonial-racialised and gendered staging of Thai massage as tourist spectacle. A beachside Thai massage, 2014. Photography by Pereslavl. Source: Pixabay ( free license).",{"url":16568,"details":16569,"fileName":16573,"contentType":228},"\u002F\u002Fimages.ctfassets.net\u002F2urh0izv0sep\u002F3szNLDjNye3B6b0dnagjo9\u002F0663896f81b20adaa7fa87db95da6918\u002Fimages-147.png",{"size":16570,"image":16571},2197845,{"width":16572,"height":1261},965,"images-147.png",[4640],[],{"nodeType":143,"data":16577,"content":16578},{},[16579,16583,16588],{"nodeType":147,"value":16580,"marks":16581,"data":16582},"The Thai Woman stereotype is a bleak inheritance, and situated at the receiving end of it, I have to believe in its passing. Pop culture offers hope. Thailand is now in its ",[],{},{"nodeType":147,"value":16584,"marks":16585,"data":16587},"White Lotus ",[16586],{"type":808},{},{"nodeType":147,"value":16589,"marks":16590,"data":16591},"era. The old stereotypes of Thai women – as docile, seductive, peripheral – are beginning to lose their grip. The gaze has turned elsewhere, fixating instead on the fractured psyche of the White Man (see the now-infamous chamomile tea monologue). Thailand’s cinematic role has shifted: once a backdrop for backpacker adventures and sex tourism, it is now staged as a site of luxury healing and high-end escapism. But when wellness replaces sex as the fantasy, what kind of healing is desired here? ",[],{},{"nodeType":143,"data":16593,"content":16594},{},[16595,16599,16603,16607,16611,16615,16619,16623,16627,16631,16635],{"nodeType":147,"value":16596,"marks":16597,"data":16598},"These are the questions to carry as we step into the bright, curated interiors of contemporary wellness. On the frontier of this emerging genre of luxury wellness are high-end retreat centres emerging all over the country. One of those is located on the so-called ‘green lung",[],{},{"nodeType":147,"value":15910,"marks":16600,"data":16602},[16601],{"type":808},{},{"nodeType":147,"value":16604,"marks":16605,"data":16606},"of Bangkok, a man-made river island just south of the city with more and more plastic waste accumulating at its shores. In a little oasis amidst post-industrial pollution from elsewhere, influencers and the ultra-rich embark on things like the ‘Life & Soul Longevity Retreat",[],{},{"nodeType":147,"value":15910,"marks":16608,"data":16610},[16609],{"type":808},{},{"nodeType":147,"value":16612,"marks":16613,"data":16614},"with Deepak Chopra to experience a bespoke journey of personalised wellness: moving from cutting-edge medical diagnostics to ancient healing wisdom (as if these were not grounded in antithetical ontologies altogether). Supposedly here you can have the cake and eat it all. The retreat opened with a ‘traditional’ welcoming ceremony. Alongside bananas, popped rice, joss sticks, candles, tobacco, and flowers, guests also offered a symbolic 32-baht ka khru fee to the teachers (in addition to the 17k USD the for the retreat). One influencer described the chanting in ‘Balinese (?!) and Sanskrit language",[],{},{"nodeType":147,"value":15910,"marks":16616,"data":16618},[16617],{"type":808},{},{"nodeType":147,"value":16620,"marks":16621,"data":16622},"as mesmerising.",[],{},{"nodeType":147,"value":8289,"marks":16624,"data":16626},[16625],{"type":5869},{},{"nodeType":147,"value":16628,"marks":16629,"data":16630}," On the final day, participants were ‘treated to a COSMOSS workshop’, where Kate Moss was reading from her Love Letters – a set of 150 affirmations.",[],{},{"nodeType":147,"value":8298,"marks":16632,"data":16634},[16633],{"type":5869},{},{"nodeType":147,"value":6213,"marks":16636,"data":16637},[],{},{"nodeType":5945,"data":16639,"content":16679},{"target":16640},{"metadata":16641,"sys":16644,"fields":16653},{"tags":16642,"concepts":16643},[],[],{"space":16645,"id":16647,"type":18,"createdAt":16648,"updatedAt":16648,"environment":16649,"publishedVersion":91,"revision":216,"contentType":16651,"locale":31},{"sys":16646},{"type":14,"linkType":15,"id":16},"GeBnBbaGeBykgAZPWOy84","2026-01-19T12:48:45.274Z",{"sys":16650},{"id":23,"type":14,"linkType":24},{"sys":16652},{"type":14,"linkType":29,"id":5961},{"name":15633,"images":16654,"visibility":5987,"galleryFormat":5988,"gallerySize":7569,"gridColumns":5866,"gridSpacing":5990,"scrollImageSize":5989,"imageOptions":16678},[16655],{"metadata":16656,"sys":16659,"fields":16667},{"tags":16657,"concepts":16658},[],[],{"space":16660,"id":16662,"type":212,"createdAt":16663,"updatedAt":16664,"environment":16665,"publishedVersion":51,"revision":1123,"locale":31},{"sys":16661},{"type":14,"linkType":15,"id":16},"5XOs5UScKr2XLPGIJudlPi","2026-01-19T09:53:43.105Z","2026-01-19T12:48:38.485Z",{"sys":16666},{"id":23,"type":14,"linkType":24},{"title":16668,"description":16669,"file":16670},"images-146","The orchid as a superficial emblem of Thai femininity that is staged alongside the idealised ‘Thai woman’ for tourism and spa culture, Chiang Mai, 2005. Photography by YashiWong. Courtesy Wikimedia Commons (CC BY-SA 3.0).\n",{"url":16671,"details":16672,"fileName":16677,"contentType":228},"\u002F\u002Fimages.ctfassets.net\u002F2urh0izv0sep\u002F5XOs5UScKr2XLPGIJudlPi\u002Ff15bcf34a8dad72382e16a7a272de50b\u002Fimages-146.png",{"size":16673,"image":16674},401904,{"width":16675,"height":16676},615,412,"images-146.png",[4640],[],{"nodeType":143,"data":16681,"content":16682},{},[16683,16687,16691,16695,16699],{"nodeType":147,"value":16684,"marks":16685,"data":16686},"Among wellness trend forecasters this retreat is described as an indicator of where luxury wellness is going to take us over the next few years.",[],{},{"nodeType":147,"value":8333,"marks":16688,"data":16690},[16689],{"type":5869},{},{"nodeType":147,"value":16692,"marks":16693,"data":16694}," Across Thailand, a new species of spa mirrors this cosmopolitan wellness aspiration: pastel interiors with blond wood, terrazzo, concrete, and ambient lighting. A visual language designed to create distance from the ambiguous spaces of sex tourism. My favourite of this species is tucked in a back alley at the edge of Silom’s Patpong district.",[],{},{"nodeType":147,"value":8342,"marks":16696,"data":16698},[16697],{"type":5869},{},{"nodeType":147,"value":16700,"marks":16701,"data":16702}," I keep on going back there even though I know that this is not healing but a sleek form of suspension. A liminal escape that soothes the symptoms of urban toxicity while leaving its causes untouched. These polished environments feel restorative, but their very existence depends on the same infrastructures of overdevelopment, exploitation, and disconnection that make us sick in the first place. As Lauren Berlant reminds us, wellness often takes the form of cruel optimism: it promises repair while binding us more tightly to the very conditions that exhaust us. ",[],{},{"nodeType":143,"data":16704,"content":16705},{},[16706,16710,16714,16718,16722],{"nodeType":147,"value":16707,"marks":16708,"data":16709},"Curious, still, about this ",[],{},{"nodeType":147,"value":15901,"marks":16711,"data":16713},[16712],{"type":808},{},{"nodeType":147,"value":16715,"marks":16716,"data":16717},"future",[],{},{"nodeType":147,"value":15910,"marks":16719,"data":16721},[16720],{"type":808},{},{"nodeType":147,"value":16723,"marks":16724,"data":16725},"of wellness, I visited the sister resort of the infamous influencer escape where wellness is advertised as ‘for everyone’. For about 200 USD, I signed up for a one-day retreat. I was welcomed by a muscular man who spent nearly an hour inputting my answers to a catalogue of questions about my health into his iPad. All this information, such as my avoidance of processed sugars would be passed on to all the departments for a tailored experience, so goes the ambitious promise. After a crystal sound bath in what looked like a fitness studio dotted with instagrammable pink crystals, I was rushed by my personal consultant to my next appointment. Sipping a glass of ginger-lemongrass tea from a massive dispenser in the lobby, I was handed yet another form, this time asking me to rate my stress level on a scale of 1 to 10. Looking at an A4 page of questions, I began to feel stressed. Later on, ten minutes into my IV drip, staff hurried in with yet more paperwork. With my right arm connected to the machine, I was asked to sign with my left hand – bureaucracy proving more urgent than relaxation. Behind me, the steady rustle of paper sorting became its own soundscape. Forty minutes later, another staff member arrived with two madeleines, neatly labelled with ingredients: flour, pistachio, eggs, and – refined sugar. This is wellness under the logic of administration. ",[],{},{"nodeType":5945,"data":16727,"content":16788},{"target":16728},{"metadata":16729,"sys":16732,"fields":16742},{"tags":16730,"concepts":16731},[],[],{"space":16733,"id":16735,"type":18,"createdAt":16736,"updatedAt":16737,"environment":16738,"publishedVersion":71,"revision":91,"contentType":16740,"locale":31},{"sys":16734},{"type":14,"linkType":15,"id":16},"1eWJr17oTGfrK71mLEuT4u","2026-01-19T12:49:22.443Z","2026-01-19T12:50:48.529Z",{"sys":16739},{"id":23,"type":14,"linkType":24},{"sys":16741},{"type":14,"linkType":29,"id":5961},{"name":16743,"images":16744,"visibility":5987,"galleryFormat":5988,"gallerySize":7569,"gridColumns":5866,"gridSpacing":5990,"scrollImageSize":5989,"imageOptions":16787},"Situating a Body within the Cosmos 6",[16745,16768],{"metadata":16746,"sys":16749,"fields":16757},{"tags":16747,"concepts":16748},[],[],{"space":16750,"id":16752,"type":212,"createdAt":16753,"updatedAt":16754,"environment":16755,"publishedVersion":51,"revision":1123,"locale":31},{"sys":16751},{"type":14,"linkType":15,"id":16},"4lTvfrny40Ihci5HOWLKrM","2026-01-19T09:53:43.100Z","2026-01-19T12:49:38.883Z",{"sys":16756},{"id":23,"type":14,"linkType":24},{"title":16758,"description":16759,"file":16760},"images-148","Within the terrazzo and pastel geometry of the contemporary spa, the promise of wellness is hinged on isolation. Walls separate bodies from one another and from the living world, offering serenity as a form of escapism. Photography by the author.",{"url":16761,"details":16762,"fileName":16767,"contentType":228},"\u002F\u002Fimages.ctfassets.net\u002F2urh0izv0sep\u002F4lTvfrny40Ihci5HOWLKrM\u002Fc88fcfe42732bca2241c56cc168da977\u002Fimages-148.png",{"size":16763,"image":16764},1087994,{"width":16765,"height":16766},1035,692,"images-148.png",{"metadata":16769,"sys":16772,"fields":16779},{"tags":16770,"concepts":16771},[],[],{"space":16773,"id":16775,"type":212,"createdAt":16776,"updatedAt":16776,"environment":16777,"publishedVersion":1123,"revision":216,"locale":31},{"sys":16774},{"type":14,"linkType":15,"id":16},"4mhAkvAvIqLHOwrua1feSj","2026-01-19T09:53:43.117Z",{"sys":16778},{"id":23,"type":14,"linkType":24},{"title":16780,"file":16781},"images-149",{"url":16782,"details":16783,"fileName":16786,"contentType":228},"\u002F\u002Fimages.ctfassets.net\u002F2urh0izv0sep\u002F4mhAkvAvIqLHOwrua1feSj\u002Fbac3e0fab0b7c79ebf3f371384f185a8\u002Fimages-149.png",{"size":16784,"image":16785},761076,{"width":16765,"height":16766},"images-149.png",[4640],[],{"nodeType":143,"data":16790,"content":16791},{},[16792,16796],{"nodeType":147,"value":16793,"marks":16794,"data":16795},"Flattening has its own rhythm. When pressed into bureaucratic form, complexity leaks elsewhere. The hum of paper machinery was irritating but also telling: cosmotechnical healing has been rewired into a bureaucratic reality. Relations based on trust in the practitioner, intuition, and subtle senses are replaced by forms, signatures, and standardised procedures: paper realities within a growing apparatus that is needed to administer these wellness experiences. Paperwork itself becomes the new ritual.",[],{},{"nodeType":147,"value":11109,"marks":16797,"data":16799},[16798],{"type":5869},{},{"nodeType":143,"data":16801,"content":16802},{},[16803,16807,16811],{"nodeType":147,"value":16804,"marks":16805,"data":16806},"If paperwork has become the ritual of bureaucratic wellness then algorithms are the next iteration. The future of health, we are told, will be precise, personalised and predictive. This trend of datafication rests on the assumption of a singular, self-contained ‘data body",[],{},{"nodeType":147,"value":15910,"marks":16808,"data":16810},[16809],{"type":808},{},{"nodeType":147,"value":16812,"marks":16813,"data":16814},"– stripped of context, relations, multiplicity. It continues the detached scientific body that Dr. Bradley once imported to Siam, now updated for the digital age. If biomedicine once flattened cosmotechnics into anatomy, then AI solutionism is its digital reincarnation – a sleek new version of the same old illusion of disconnection. What really happens when data-algorithms attach to our bodies, turning us into cyborgs and replacing self-knowing with biometric feedback is that we come to trust data over intuition. The result is not awakening or empowerment but disembodiment and alienation from bodily connection. ",[],{},{"nodeType":5812,"data":16816,"content":16817},{},[16818],{"nodeType":147,"value":16819,"marks":16820,"data":16822},"Flattening and its leaks: glimmers of a future already here ",[16821],{"type":290},{},{"nodeType":143,"data":16824,"content":16825},{},[16826],{"nodeType":147,"value":16827,"marks":16828,"data":16829},"Set against this narrow vision remain the cosmologies of midwives and healers, feminist and relational thinkers, Indigenous philosophies, and even quantum biologists. Across worlds and disciplines, they converge on a simple truth: health and life are not grounded in competition but in intuitive relation as symbiosis. When my Chinese doctor takes my hand and listens to my pulse with her perfectly manicured fingers. Without asking a single question or doing extensive blood screenings, she knows everything and more than I do about my current state. ",[],{},{"nodeType":143,"data":16831,"content":16832},{},[16833,16837,16841],{"nodeType":147,"value":16834,"marks":16835,"data":16836},"During my acupuncture session she has her assistant turn the air-conditioning down and roll in an infrared light to be placed over my womb.",[],{},{"nodeType":147,"value":11145,"marks":16838,"data":16840},[16839],{"type":5869},{},{"nodeType":147,"value":16842,"marks":16843,"data":16844}," I am seen and taken care of in what feels like a therapy session, a health check-up and a treatment all at one. And when I visit P Daeng, our plant teacher in her home in the mountains of North Thailand, she prepares a locally and seasonally sourced juice that is aligned to my Thai birth chart. Such moments feel complete in themselves. Call them glimmers: fleeting fragments of connection that surface despite the flattening. The difference between all this beauty and the epistemological poverty of wellness solutionism is not anecdotal but ontological. Perhaps ‘personalisation’ is not about tailoring a package to a consumer profile but about situating a body within the cosmos. ",[],{},{"nodeType":143,"data":16846,"content":16847},{},[16848],{"nodeType":147,"value":16849,"marks":16850,"data":16851},"What if the wound is not only mine, not only Thailand’s, but the world’s – split open by centuries of flattening, yet still leaking life? In the cracks of the medical-industrial complex, in the glossy interiors of luxury spas, in the paperwork hum of wellness bureaucracies, something keeps slipping through. Steam carries prayers. Plants carry intelligence. Bodies carry worlds. ",[],{},{"nodeType":143,"data":16853,"content":16854},{},[16855],{"nodeType":147,"value":16856,"marks":16857,"data":16858},"These are not remnants of a past to be archived, but frequencies of a future already here, insisting on relation. To listen to them is to refuse the fantasy that healing is a commodity, a protocol or a package to be personalised by data. It is to sense again that we were never alone. That mothering is not a gendered labour but a cosmological practice. The womb that mothers the mother, the world that mothers us all. ",[],{},{"nodeType":143,"data":16860,"content":16861},{},[16862,16866,16870],{"nodeType":147,"value":16863,"marks":16864,"data":16865},"As David Graeber reminds us, we make the world – and could make it differently. Yet ",[],{},{"nodeType":147,"value":16119,"marks":16867,"data":16869},[16868],{"type":808},{},{"nodeType":147,"value":16871,"marks":16872,"data":16873},"and other traditional healing practices know that we never made it alone. The habitable world emerged through cosmic and microbial collaboration, not through human design: stars burning themselves into elements, bacteria breathing the first air, plants turning light into atmosphere, volcanic heat stirring oceans, mycelium weaving soil into life. ",[],{},{"nodeType":143,"data":16875,"content":16876},{},[16877],{"nodeType":147,"value":16878,"marks":16879,"data":16880},"So the question is not whether Thai healing can survive modernity, or whether stereotypes can be dismantled by critique. The question is whether we will dare to be with the glimmers. Whether we will let the leaks guide us. Whether we will choose the fullness of relation over the flatness of extraction. Always and forever, everything depends on how we choose to inhabit the world. ",[],{},{"nodeType":143,"data":16882,"content":16883},{},[16884],{"nodeType":147,"value":219,"marks":16885,"data":16886},[],{},{"nodeType":6419,"data":16888,"content":16889},{},[],{"nodeType":6423,"data":16891,"content":16892},{},[16893,16897,16902,16906,16911],{"nodeType":147,"value":16894,"marks":16895,"data":16896},"1 Gayatri Chakravorty Spivak (1988) names ",[],{},{"nodeType":147,"value":16898,"marks":16899,"data":16901},"epistemic violence ",[16900],{"type":808},{},{"nodeType":147,"value":16903,"marks":16904,"data":16905},"as the colonial assault on subaltern ways of knowing, while James C. Scott (1998) describes ",[],{},{"nodeType":147,"value":16907,"marks":16908,"data":16910},"state simplification ",[16909],{"type":808},{},{"nodeType":147,"value":16912,"marks":16913,"data":16914},"as the violent flattening of local, fluid practices into standardised forms legible to bureaucratic power. ",[],{},{"nodeType":143,"data":16916,"content":16917},{},[16918],{"nodeType":147,"value":219,"marks":16919,"data":16920},[],{},{"nodeType":6423,"data":16922,"content":16923},{},[16924,16928,16933],{"nodeType":147,"value":16925,"marks":16926,"data":16927},"2 Quentin (Trais) Pearson, 'Womb with a View: The Introduction of Western Obstetrics in Nineteenth-Century Siam', ",[],{},{"nodeType":147,"value":16929,"marks":16930,"data":16932},"Bulletin of the History of Medicine 90",[16931],{"type":808},{},{"nodeType":147,"value":16934,"marks":16935,"data":16936},", no. 1 (Spring 2016): 13, 14. ",[],{},{"nodeType":143,"data":16938,"content":16939},{},[16940],{"nodeType":147,"value":219,"marks":16941,"data":16942},[],{},{"nodeType":6423,"data":16944,"content":16945},{},[16946,16950,16954],{"nodeType":147,"value":16947,"marks":16948,"data":16949},"3 Quentin (Trais) Pearson, 'Womb with a View: The Introduction of Western Obstetrics in Nineteenth-Century Siam', ",[],{},{"nodeType":147,"value":16929,"marks":16951,"data":16953},[16952],{"type":808},{},{"nodeType":147,"value":16955,"marks":16956,"data":16957},", no. 1 (Spring 2016): 14. ",[],{},{"nodeType":143,"data":16959,"content":16960},{},[16961],{"nodeType":147,"value":219,"marks":16962,"data":16963},[],{},{"nodeType":6423,"data":16965,"content":16966},{},[16967],{"nodeType":147,"value":16968,"marks":16969,"data":16970},"4 Gayatri Chakravorty Spivak, in 'Can the Subaltern Speak?' (1988), critiques the colonial trope of 'white men saving brown women from brown men.' I adapt her formulation here to highlight how, in nineteenth-century Siam, missionary doctors positioned themselves against indigenous female elders. ",[],{},{"nodeType":143,"data":16972,"content":16973},{},[16974],{"nodeType":147,"value":219,"marks":16975,"data":16976},[],{},{"nodeType":6423,"data":16978,"content":16979},{},[16980,16984,16989],{"nodeType":147,"value":16981,"marks":16982,"data":16983},"5 Michel Foucault introduced the concept of the 'medical gaze' in ",[],{},{"nodeType":147,"value":16985,"marks":16986,"data":16988},"The Birth of the Clinic ",[16987],{"type":808},{},{"nodeType":147,"value":16990,"marks":16991,"data":16992},"(1973), describing how modern medicine reclassified bodies through regimes of visibility and power. ",[],{},{"nodeType":143,"data":16994,"content":16995},{},[16996],{"nodeType":147,"value":219,"marks":16997,"data":16998},[],{},{"nodeType":6423,"data":17000,"content":17001},{},[17002,17006,17011,17015,17020],{"nodeType":147,"value":17003,"marks":17004,"data":17005},"6 Michael Herzfeld’s notion of 'crypto-colonialism' (2002) describes nations that formally retained sovereignty while internalising colonial logics of governance and culture. In the Siamese case, this resonates with Thongchai Winichakul’s ",[],{},{"nodeType":147,"value":17007,"marks":17008,"data":17010},"Siam Mapped ",[17009],{"type":808},{},{"nodeType":147,"value":17012,"marks":17013,"data":17014},"(1994), which shows how mapping and territoriality internalised colonial epistemes, and with Tamara Loos’s ",[],{},{"nodeType":147,"value":17016,"marks":17017,"data":17019},"Subject Siam ",[17018],{"type":808},{},{"nodeType":147,"value":17021,"marks":17022,"data":17023},"(2006), which traces how law, gender, and sexuality were reconfigured through similar self-colonising processes. ",[],{},{"nodeType":143,"data":17025,"content":17026},{},[17027],{"nodeType":147,"value":219,"marks":17028,"data":17029},[],{},{"nodeType":6423,"data":17031,"content":17032},{},[17033],{"nodeType":147,"value":17034,"marks":17035,"data":17036},"7 Relational philosophy cautions against turning fluid practices into bounded objects. Édouard Glissant (1990) emphasises relation and opacity; Deleuze and Guattari (1980) develop assemblage as a non-totalising form; Bruno Latour’s actor-network theory (2005) extends this to heterogeneous collectives; while Donna Haraway (1988) and Anna Tsing (2015) foreground ecological and feminist dimensions of relationality. ",[],{},{"nodeType":143,"data":17038,"content":17039},{},[17040],{"nodeType":147,"value":219,"marks":17041,"data":17042},[],{},{"nodeType":6423,"data":17044,"content":17045},{},[17046,17050,17055],{"nodeType":147,"value":17047,"marks":17048,"data":17049},"8 Anna Tsing, ",[],{},{"nodeType":147,"value":17051,"marks":17052,"data":17054},"The Mushroom at the End of the World ",[17053],{"type":808},{},{"nodeType":147,"value":17056,"marks":17057,"data":17058},"(2015), 22–23. ",[],{},{"nodeType":143,"data":17060,"content":17061},{},[17062],{"nodeType":147,"value":219,"marks":17063,"data":17064},[],{},{"nodeType":6423,"data":17066,"content":17067},{},[17068,17072,17077,17081,17086,17090,17095],{"nodeType":147,"value":17069,"marks":17070,"data":17071},"9 In Tarini’s cosmology, this plant intelligence is not separate from the structure of the universe but one strand in a much wider weave of multidimensional awareness. On plant intelligence see for example Jane Bennett, ",[],{},{"nodeType":147,"value":17073,"marks":17074,"data":17076},"Vibrant Matter ",[17075],{"type":808},{},{"nodeType":147,"value":17078,"marks":17079,"data":17080},"(2010), which develops a new materialist account of vegetal vitality as part of the wider agency of matter; Robin Wall Kimmerer, ",[],{},{"nodeType":147,"value":17082,"marks":17083,"data":17085},"Braiding Sweetgrass ",[17084],{"type":808},{},{"nodeType":147,"value":17087,"marks":17088,"data":17089},"(2013), which braids Potawatomi teachings with botany to frame plants as kin and teachers; and Eduardo Kohn, ",[],{},{"nodeType":147,"value":17091,"marks":17092,"data":17094},"How Forests Think ",[17093],{"type":808},{},{"nodeType":147,"value":17096,"marks":17097,"data":17098},"(2013), which explores how Amazonian forests communicate through semiotic processes, extending 'thinking' beyond the human. ",[],{},{"nodeType":143,"data":17100,"content":17101},{},[17102],{"nodeType":147,"value":219,"marks":17103,"data":17104},[],{},{"nodeType":6423,"data":17106,"content":17107},{},[17108,17112,17117],{"nodeType":147,"value":17109,"marks":17110,"data":17111},"10 Annemarie Mol’s ",[],{},{"nodeType":147,"value":17113,"marks":17114,"data":17116},"The Body Multiple ",[17115],{"type":808},{},{"nodeType":147,"value":17118,"marks":17119,"data":17120},"(2002) demonstrates how disease is enacted through divergent medical practices, extending Foucault’s 'medical gaze' (1963) and resonating with Latour’s actor-network theory (2005). It reframes illness as relationally produced, opening the way to think healing as alignment with more-than-human systems. ",[],{},{"nodeType":143,"data":17122,"content":17123},{},[17124],{"nodeType":147,"value":219,"marks":17125,"data":17126},[],{},{"nodeType":6423,"data":17128,"content":17129},{},[17130,17134,17139],{"nodeType":147,"value":17131,"marks":17132,"data":17133},"11 Yuk Hui, ",[],{},{"nodeType":147,"value":17135,"marks":17136,"data":17138},"The Question Concerning Technology in China: An Essay in Cosmotechnics ",[17137],{"type":808},{},{"nodeType":147,"value":17140,"marks":17141,"data":17142},"(Falmouth: Urbanomic, 2016), xiii. ",[],{},{"nodeType":143,"data":17144,"content":17145},{},[17146],{"nodeType":147,"value":219,"marks":17147,"data":17148},[],{},{"nodeType":6423,"data":17150,"content":17151},{},[17152,17156,17161],{"nodeType":147,"value":17153,"marks":17154,"data":17155},"12 The oft-cited phrase 'it is easier to imagine the end of the world than the end of capitalism' circulates widely in leftist critique. Fredric Jameson first formulated it in the early 1990s to describe the foreclosure of political imagination under late capitalism, while Slavoj Žižek popularised it in lectures and essays. Mark Fisher’s ",[],{},{"nodeType":147,"value":17157,"marks":17158,"data":17160},"Capitalist Realism ",[17159],{"type":808},{},{"nodeType":147,"value":17162,"marks":17163,"data":17164},"(2009, 2) canonised the line, using it to open his first chapter and to diagnose the cultural saturation of capitalist logics as common sense. ",[],{},{"nodeType":143,"data":17166,"content":17167},{},[17168],{"nodeType":147,"value":219,"marks":17169,"data":17170},[],{},{"nodeType":6423,"data":17172,"content":17173},{},[17174,17178,17183],{"nodeType":147,"value":17175,"marks":17176,"data":17177},"13 Macarena Gómez-Barris develops the concept of the 'extractive zone' (",[],{},{"nodeType":147,"value":17179,"marks":17180,"data":17182},"The Extractive Zone",[17181],{"type":808},{},{"nodeType":147,"value":17184,"marks":17185,"data":17186},", 2017) to describe how colonial-capitalist logics remake land, bodies, and cultures into resources for exploitation. While Gómez-Barris grounds the term in Latin American ecologies, here the 'extractive zone' is not only geographical but epistemic and embodied: Thai massage itself has been pulled into it, and the figure of the Thai woman torn apart within it. ",[],{},{"nodeType":143,"data":17188,"content":17189},{},[17190],{"nodeType":147,"value":219,"marks":17191,"data":17192},[],{},{"nodeType":6423,"data":17194,"content":17195},{},[17196,17200,17205],{"nodeType":147,"value":17197,"marks":17198,"data":17199},"14 Fred Moten & Stefano Harney, ",[],{},{"nodeType":147,"value":17201,"marks":17202,"data":17204},"The Undercommons: Fugitive Planning & Black Stud",[17203],{"type":808},{},{"nodeType":147,"value":17206,"marks":17207,"data":17208},"y (2013), 140,41. ",[],{},{"nodeType":143,"data":17210,"content":17211},{},[17212],{"nodeType":147,"value":219,"marks":17213,"data":17214},[],{},{"nodeType":6423,"data":17216,"content":17217},{},[17218,17222,17227],{"nodeType":147,"value":17219,"marks":17220,"data":17221},"15 The phrase 'in capitalist ruins' comes from anthropologist Anna Tsing’s ",[],{},{"nodeType":147,"value":17223,"marks":17224,"data":17226},"The Mushroom at the End of the World: On the Possibility of Life in Capitalist Ruins ",[17225],{"type":808},{},{"nodeType":147,"value":17228,"marks":17229,"data":17230},"(2015), where she explores how multispecies survival is possible in landscapes devastated by capitalism. She shows that survival is rarely about autonomy or purity, but about entanglement and adaptation within damaged ecologies. This resonates with biologist Lynn Margulis’s groundbreaking theory of symbiosis, developed from the 1960s onward, which challenged the Darwinian emphasis on competition. Margulis demonstrated that evolution itself is driven by symbiotic mergers – organisms coexisting, collaborating, and co-evolving. To read Thai massage as a 'shapeshifter' is to see its survival in precisely these terms: not through strength or purity, but through adaptive symbiosis, even when the alliances that enable persistence are forged with the very forces of commodification and erasure. ",[],{},{"nodeType":143,"data":17232,"content":17233},{},[17234],{"nodeType":147,"value":219,"marks":17235,"data":17236},[],{},{"nodeType":6423,"data":17238,"content":17239},{},[17240],{"nodeType":147,"value":17241,"marks":17242,"data":17243},"16 In 1960, Thailand passed the Prostitution Suppression Act. Yet just seven years later, it signed the Rest and Recreation (R&R) Agreement with the United States, becoming a key destination for American GIs on leave from the American War in Vietnam. ",[],{},{"nodeType":143,"data":17245,"content":17246},{},[17247],{"nodeType":147,"value":219,"marks":17248,"data":17249},[],{},{"nodeType":6423,"data":17251,"content":17252},{},[17253,17257,17262],{"nodeType":147,"value":17254,"marks":17255,"data":17256},"17 Schools adapted by introducing theory classes and standardised sequences. Harald Brust, a German who called himself Asokananda, codified these shifts in the first English-language manual ",[],{},{"nodeType":147,"value":17258,"marks":17259,"data":17261},"The Art of Traditional Thai Massage ",[17260],{"type":808},{},{"nodeType":147,"value":17263,"marks":17264,"data":17265},"(1990). ",[],{},{"nodeType":143,"data":17267,"content":17268},{},[17269],{"nodeType":147,"value":219,"marks":17270,"data":17271},[],{},{"nodeType":6423,"data":17273,"content":17274},{},[17275],{"nodeType":147,"value":17276,"marks":17277,"data":17278},"18 Today, Thai massage is overseen by the Ministry of Public Health, legitimised through diplomas, medical studies, and UNESCO recognition (2019). Behind this polished image lies a nationalist project distanced from actual realities on the ground: foreigners are barred from working as masseuses, even as much of the industry relies on undocumented labour from Laos, Cambodia, Myanmar, and Vietnam. In Bangkok’s 15000 massage parlours alone, over 50,000 migrant workers are estimated to practise massage, while only a quarter of shops are legally certified. ",[],{},{"nodeType":143,"data":17280,"content":17281},{},[17282],{"nodeType":147,"value":219,"marks":17283,"data":17284},[],{},{"nodeType":6423,"data":17286,"content":17287},{},[17288,17292,17299],{"nodeType":147,"value":17289,"marks":17290,"data":17291},"19 Neither the influencer nor her editors seemed aware of 'Pali', the canonical language of Theravāda Buddhism, their slip tracing the geographies of superficial wellness cosmopolitanism. ",[],{},{"nodeType":865,"data":17293,"content":17295},{"uri":17294},"https:\u002F\u002Fwww.voguehk.com\u002Fen\u002Farticle\u002Fvogue-circle\u002Folivia-buckingham-rakxa-integra-tive-wellness\u002F",[17296],{"nodeType":147,"value":17294,"marks":17297,"data":17298},[],{},{"nodeType":147,"value":219,"marks":17300,"data":17301},[],{},{"nodeType":143,"data":17303,"content":17304},{},[17305],{"nodeType":147,"value":219,"marks":17306,"data":17307},[],{},{"nodeType":6423,"data":17309,"content":17310},{},[17311,17315,17320,17324,17330],{"nodeType":147,"value":17312,"marks":17313,"data":17314},"20 Buckingham, Olivia. 'Olivia Buckingham: The Deepak Cho- pra Life and Soul Retreat With RAKxa Integrative Wellness.' ",[],{},{"nodeType":147,"value":17316,"marks":17317,"data":17319},"Vogue Hong Kong",[17318],{"type":808},{},{"nodeType":147,"value":17321,"marks":17322,"data":17323},", 10 October 2023. ",[],{},{"nodeType":865,"data":17325,"content":17326},{"uri":17294},[17327],{"nodeType":147,"value":17294,"marks":17328,"data":17329},[],{},{"nodeType":147,"value":219,"marks":17331,"data":17332},[],{},{"nodeType":143,"data":17334,"content":17335},{},[17336],{"nodeType":147,"value":219,"marks":17337,"data":17338},[],{},{"nodeType":6423,"data":17340,"content":17341},{},[17342,17346,17351,17355,17362],{"nodeType":147,"value":17343,"marks":17344,"data":17345},"21 Jones, Dylan. 'Deepak Chopra’s Futuristic New Retreat — Is This the Frontier of Luxury Wellness?' ",[],{},{"nodeType":147,"value":17347,"marks":17348,"data":17350},"Evening Standard",[17349],{"type":808},{},{"nodeType":147,"value":17352,"marks":17353,"data":17354},", 17 April 2024., ",[],{},{"nodeType":865,"data":17356,"content":17358},{"uri":17357},"https:\u002F\u002Fwww.standard.co.uk\u002Flifestyle\u002Ftravel\u002Fdeepak-chop-ra-thailand-retreat-longevity-re-view-kate-moss-b1151725.html",[17359],{"nodeType":147,"value":17357,"marks":17360,"data":17361},[],{},{"nodeType":147,"value":6213,"marks":17363,"data":17364},[],{},{"nodeType":143,"data":17366,"content":17367},{},[17368],{"nodeType":147,"value":219,"marks":17369,"data":17370},[],{},{"nodeType":6423,"data":17372,"content":17373},{},[17374],{"nodeType":147,"value":17375,"marks":17376,"data":17377},"22 Developed in the 1960s by the Patpongpanich family, Patpong hosted offices of the OSS (precursor to the CIA) alongside the city’s first go-go bars – a convergence of Cold War intelligence infrastructure and Bangkok’s sex economy. ",[],{},{"nodeType":143,"data":17379,"content":17380},{},[17381],{"nodeType":147,"value":219,"marks":17382,"data":17383},[],{},{"nodeType":6423,"data":17385,"content":17386},{},[17387,17391,17396,17400,17405],{"nodeType":147,"value":17388,"marks":17389,"data":17390},"23 Anthropologists have long critiqued the materiality of bureaucracy. Matthew Hull (",[],{},{"nodeType":147,"value":17392,"marks":17393,"data":17395},"Government of Paper",[17394],{"type":808},{},{"nodeType":147,"value":17397,"marks":17398,"data":17399},", 2012) shows how documents do not merely record reality but actively produce it, while David Graeber (",[],{},{"nodeType":147,"value":17401,"marks":17402,"data":17404},"The Utopia of Rules",[17403],{"type":808},{},{"nodeType":147,"value":17406,"marks":17407,"data":17408},", 2015) highlights how paperwork functions as both ritual and violence. ",[],{},{"nodeType":143,"data":17410,"content":17411},{},[17412],{"nodeType":147,"value":219,"marks":17413,"data":17414},[],{},{"nodeType":6423,"data":17416,"content":17417},{},[17418],{"nodeType":147,"value":17419,"marks":17420,"data":17421},"24 It feels important to note that I was not charged for this addition to my treatment. ",[],{},{"nodeType":143,"data":17423,"content":17424},{},[17425],{"nodeType":147,"value":219,"marks":17426,"data":17427},[],{},[4640],[15603],{"metadata":17431,"sys":17434,"fields":17439},{"tags":17432,"concepts":17433},[],[],{"space":17435,"id":15662,"type":212,"createdAt":15663,"updatedAt":15664,"environment":17437,"publishedVersion":25,"revision":51,"locale":31},{"sys":17436},{"type":14,"linkType":15,"id":16},{"sys":17438},{"id":23,"type":14,"linkType":24},{"title":15668,"description":15669,"file":17440},{"url":15671,"details":17441,"fileName":15677,"contentType":228},{"size":15673,"image":17442},{"width":15675,"height":15676},{"metadata":17444,"sys":17447,"fields":17457},{"tags":17445,"concepts":17446},[],[],{"space":17448,"id":17450,"type":18,"createdAt":17451,"updatedAt":17452,"environment":17453,"publishedVersion":1280,"revision":1078,"contentType":17455,"locale":31},{"sys":17449},{"type":14,"linkType":15,"id":16},"4DUOMfyCfscBL4xt5UXUJA","2025-11-06T22:31:46.745Z","2026-01-20T12:43:55.986Z",{"sys":17454},{"id":23,"type":14,"linkType":24},{"sys":17456},{"type":14,"linkType":29,"id":3211},{"name":17458,"slug":17459,"issue":3215,"title":17460,"author":17461,"locationName":17462,"hero":17463,"sections":17512,"thumbnailImage":18965,"disableAccess":18978},"Situating a Body within the Cosmos (thai)","situating-a-body-within-the-cosmos-thai","วางตำแหน่งร่างในกายแห่งจักรวาล: การเยียวยา ภาพจำและอาการเมาค้างทางสุขภาพของอาณานิคม","โรซาเลีย น้ำใส เอ่งฉ้วน","ประเทศไทย",{"metadata":17464,"sys":17467,"fields":17477},{"tags":17465,"concepts":17466},[],[],{"space":17468,"id":17470,"type":18,"createdAt":17471,"updatedAt":17472,"environment":17473,"publishedVersion":2418,"revision":91,"contentType":17475,"locale":31},{"sys":17469},{"type":14,"linkType":15,"id":16},"5vjF3vWm7q9SIq165xqniN","2026-01-20T10:10:02.228Z","2026-01-20T11:49:04.110Z",{"sys":17474},{"id":23,"type":14,"linkType":24},{"sys":17476},{"type":14,"linkType":29,"id":3231},{"name":17478,"title":17478,"imageOption":3499,"imagesDisplay":17479,"imageRatio":5755,"image":17480,"imageSecond":17499},"Situating a Body within the Cosmos (thai) hero",[3545,6774,5753,5754],{"metadata":17481,"sys":17484,"fields":17492},{"tags":17482,"concepts":17483},[],[],{"space":17485,"id":17487,"type":212,"createdAt":17488,"updatedAt":17489,"environment":17490,"publishedVersion":679,"revision":91,"locale":31},{"sys":17486},{"type":14,"linkType":15,"id":16},"4ZmRz2W01jT1BHsn4mjWFN","2026-01-20T10:07:19.202Z","2026-01-20T13:06:36.881Z",{"sys":17491},{"id":23,"type":14,"linkType":24},{"title":17493,"description":17494,"file":17495},"Image 139 thai","The Tree of Life is an energetic ritual rooted in intuitive source wisdom for life-or-death moments. Here performed by women in Chao Mai for the birth of Saeng-Fah, 1995. Photography by Thairat Lim. 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Pressure Massage Manual_, ca. 1850) คู่มือแนะนำจุดกดนวดเพื่อ “การนวดโยคะแผนไทย.” Wellcome Collection, ลอนดอน (Wellcome Images L0027323). ได้รับใบอนุญาตภายใต้ CC BY 4.0",{"url":17664,"details":17665,"fileName":17670,"contentType":228},"\u002F\u002Fimages.ctfassets.net\u002F2urh0izv0sep\u002F7pq0NGSVv06qHShN1niy8t\u002Fe63d9a35030a696dafb0514db31f6866\u002Fimages-151.png",{"size":17666,"image":17667},2222537,{"width":17668,"height":17669},626,1385,"images-151.png",[4640],[],{"nodeType":143,"data":17674,"content":17675},{},[17676],{"nodeType":147,"value":17677,"marks":17678,"data":17679},"บทความนี้ต้องการชี้จุดบาดแผลท่ามกลางเสียงกรีดร้องอันกึกก้อง การเขียนบทให้หญิงไทยกลายเป็นภาพจำแห่งกามารมณ์ พร้อมๆ ไปกับการส่งออกการนวดแผนไทยสู่บริการเพื่อการบริโภคในระดับสากล ทั้งสองบทเดินทางบนเส้นขนานที่สะท้อนภาพกันและกัน และกดทับความซับซ้อนให้แบนราบจนเหลือเพียงแต่ความเพ้อฝันที่รีดเร้นมาใช้งานได้ และเพื่อวาดฝันถึงโลกใบอื่นนอกเหนือไปจากเรื่องแต่งที่เราได้รับมรดกตกทอดมา เรื่องราวต่อไปนี้ตามรอยการนวดแผนไทยไม่เพียงแต่ย้อนเวลาไปสู่อดีต หากแต่ไปสู่พื้นเพทางภววิทยาด้วยเช่นกัน",[],{},{"nodeType":5812,"data":17681,"content":17682},{},[17683],{"nodeType":147,"value":17684,"marks":17685,"data":17687},"เรากำลังพยายามเยียวยาตัวเองจากอะไรกันแน่? ความรุนแรงทางญาณวิทยา การลดทอนความซับซ้อนของรัฐ และการลบเลือนกระบวนการเทคนิคเชิงจักรวาลทัศน์ในสยาม",[17686],{"type":290},{},{"nodeType":143,"data":17689,"content":17690},{},[17691],{"nodeType":147,"value":17692,"marks":17693,"data":17694},"นับตั้งแต่วันที่สยามต้องประสบพบเจอกับชายคนขาว ประวัติศาสตร์การเยียวยาในสยามก็กลายเป็นกรณีศึกษาอันน่าสลด ที่แสดงให้เห็นว่าความรุนแรงทางญาณวิทยาและการลดทอนความซับซ้อนของรัฐได้ทำให้โลกของหลากผู้คนสับสนวุ่นวาย ความรุนแรงทางญาณวิทยาเริ่มขึ้นในช่วงศตวรรษที่สิบเก้าตอนต้น เมื่อหมอตำแย ร่างทรงที่มีความลื่นไหลทางเพศสภาพ และเหล่าผู้รักษาถูกปลดอำนาจความน่าเชื่อถือไป และกระบวนการเทคนิคเชิงจักรวาลทัศน์ (cosmotechnics) ของพวกเขาก็ถูกปัดตกให้กลายเป็นความเชื่องมงายทารุณ พวกเขาถูกผลักให้อยู่แต่ในเงามืดที่คืบคลานตามอำนาจเก่าที่เคยมีแต่ต้น ไม่ว่าจะผ่านการเข้ามาเยือนของเหล่ามิชชันนารี ภาพวาดสรีระร่างกาย กฎเกณฑ์ของราชสำนักและกฎหมายสมัยใหม่ ผลที่ตามมาไม่ใช่เพียงระเบียบทางการแพทย์ใหม่ หากแต่เป็นการรื้อทึ้งระบอบทางความรู้ เรื่องเพศและจักรวาลวิทยาขนานใหญ่ ในขณะที่ผู้คนยินดีไปกับ “การพัฒนาให้เป็นสมัยใหม่” สิ่งที่เกิดขึ้นคู่ขนานไปด้วยก็คือการกวาดล้างกระบวนการสร้างจักรวาลวิทยาอันรวมมิติเรื่องเพศเข้าไปด้วยเช่นกัน",[],{},{"nodeType":143,"data":17696,"content":17697},{},[17698],{"nodeType":147,"value":17699,"marks":17700,"data":17701},"การลบล้างดังกล่าวไม่ได้เกิดขึ้นจากการปะทุตัวที่เปลี่ยนแปลงทุกสิ่งโดยทันที หากแต่เป็นลำดับขั้นตอนของการแปลที่ค่อยๆ เผยแผ่คลี่ตัวออกมา เริ่มจากแพทย์มิชชันนารีชาวอเมริกันอย่าง แดน บีช แบรดลีย์ (Dan Beach Bradley) ที่ไล่หมอตำแยออกจากห้องทำคลอด ฉันยังจำได้ดีถึงข้อบันทึกที่ว่า: ",[],{},{"nodeType":8159,"data":17703,"content":17704},{},[17705,17712],{"nodeType":143,"data":17706,"content":17707},{},[17708],{"nodeType":147,"value":17709,"marks":17710,"data":17711},"เย็นวันที่ 28 ธันวาคม ปี 1835 แบรดลีย์ได้ถูกเรียกให้เข้าพระราชวังของเจ้าฟ้าจุฑามณีหรือที่ต่อมาได้ขึ้นครองราชย์เป็นพระบาทสมเด็จพระปิ่นเกล้าเจ้าอยู่หัว รัชกาลที่ 4 เนื่องจากพระชายากำลังให้ประสูตรบุตรของพระองค์ โดยแบรดลีย์ได้เขียนอธิบายถึงเหตุการณ์วันนั้นไว้ในบันทึกประจำวันของตนว่า: ",[],{},{"nodeType":143,"data":17713,"content":17714},{},[17715,17719],{"nodeType":147,"value":17716,"marks":17717,"data":17718},"“ในห้องนั้นอัดแน่นไปด้วยหญิงชราที่ร่ายภูมิปัญญาเพื่อรักษาผู้ป่วย…พร้อมความช่วยเหลือจากหมอตำแย และนางผู้ช่วยอีกจำนวนนับไม่ถ้วน ความกรุณาที่ดูจะอ่อนโยนของคนนอกรีตคือความป่าเถื่อนทารุณเป็นแน่แท้”",[],{},{"nodeType":147,"value":6015,"marks":17720,"data":17722},[17721],{"type":5869},{},{"nodeType":143,"data":17724,"content":17725},{},[17726,17730,17735,17739],{"nodeType":147,"value":17727,"marks":17728,"data":17729},"แบรดลีย์กำลังเขียนถึงการ ",[],{},{"nodeType":147,"value":17731,"marks":17732,"data":17734},"อยู่ไฟ ",[17733],{"type":808},{},{"nodeType":147,"value":17736,"marks":17737,"data":17738},"ซึ่งเป็นพิธีกรรมที่ให้หญิงที่เพิ่งคลอดบุตรและทารกแรกเกิดได้พักใกล้กับไออุ่นจากกองไฟ สำเนียงการเขียนของแบรดลีย์แสดงให้เห็นอย่างชัดเจนว่าเขาไม่ได้เคารพหรือเข้าใจสิ่งที่เขากำลังมองเห็นเลย แต่ถึงกระนั้น “เขาก็ยื่นคำอย่างหนักแน่นว่าเขาจะไม่ให้การดูแลรักษากับพระชายาของเจ้าฟ้า จนกว่าเหล่าหมอตำแยและสารพัดนางผู้ช่วยจะยุติกระบวนการเก่าแก่ซะ และจะมีแต่เขาแต่เพียงผู้เดียวที่มีอำนาจดูแลรักษาพระชายา”",[],{},{"nodeType":147,"value":6039,"marks":17740,"data":17742},[17741],{"type":5869},{},{"nodeType":143,"data":17744,"content":17745},{},[17746,17750,17754],{"nodeType":147,"value":17747,"marks":17748,"data":17749},"ในห้องนั้นเอง โลกสองใบเคลื่อนเข้าชนกันและพบว่าไม่สามารถอยู่ร่วมกันได้ หนึ่งคนเดินออกไปในฐานะตัวแทนแห่งความก้าวหน้า ชายแห่งการแพทย์ผู้รู้ อีกคนคืบออกทางประตูหลัง และอันตรธานหายไปจากบันทึกทางการทั้งปวง ข้อเรียกร้องของแบรดลีย์ไม่เพียงแต่จะเป็นข้อเรียกร้องทางการแพทย์ หากแต่ยังเป็นข้อเรียกร้องทางญาณวิทยาด้วยเช่นกัน เขาขีดเขี่ยอำนาจสิทธิ์ของหมอตำแยและผู้อาวุโสเพื่อสถาปนาตนเองในฐานะตุลากาลแห่งความจริงหนึ่งเดียว เขาเริ่มต้นภารกิจที่ไม่มีใครเรียกร้อง และจินตนาการว่าตนเองคือผู้มาโปรดหญิงไทยทั้งหลายจากความโหดร้ายทารุณคร่ำครึของหมอตำแย อีกหนึ่งตัวอย่างของ “ชายคนขาวผู้มาโปรดหญิงผิวคล้ำ” จากเงื้อมมือของหญิงอาวุโส",[],{},{"nodeType":147,"value":6183,"marks":17751,"data":17753},[17752],{"type":5869},{},{"nodeType":147,"value":17755,"marks":17756,"data":17757}," ที่จัดลำดับสูงต่ำของความรู้และปัญญาบนพื้นฐานของเชื้อชาติและเพศสภาพ เพื่อชูความเป็นต่างชาติและการพยาบาลขึ้นเหนือความเป็นพื้นถิ่นและความสัมพันธ์แบบสัมพัทธ์",[],{},{"nodeType":143,"data":17759,"content":17760},{},[17761,17765,17769],{"nodeType":147,"value":17762,"marks":17763,"data":17764},"หลังจากที่แบรดลีย์ปัดหมอตำแยออกจากสารบบเรียบร้อยแล้ว สิ่งที่ตามมาคือระบอบการทรรศนะแบบใหม่ที่ยิ่งตอกย้ำตรรกะของการมองผ่านสายตาทางการแพทย์",[],{},{"nodeType":147,"value":6208,"marks":17766,"data":17768},[17767],{"type":5869},{},{"nodeType":147,"value":17770,"marks":17771,"data":17772}," แบรดลีย์จ้างศิลปินพื้นถิ่นให้วาดภาพอวัยวะแต่ละชิ้นส่วนตามสรีระร่างกายมนุษย์ และตีพิมพ์ออกมาด้วยเครื่องพิมพ์ที่เขานำเข้ามาจากสิงคโปร์ด้วยตนเอง อวัยวะแต่ละส่วนถูกวาดบนพื้นหลังขาวโพลนว่างเปล่า ทุกชิ้นแยกออกจากร่างกายทั้งมวล แปลกแยกจากจังหวะของสายเลือด ลมหายใจและฤดูกาล ในบรรดาสิ่งพิมพ์ทางวิทยาศาสตร์ทั่วโลก รูปวาดเหล่านี้ไม่เพียงแต่แสดงให้เห็นถึงระบบการแพทย์ตะวันตก หากแต่ยังแปลงเปลี่ยนความสัมพันธ์ที่ผู้คนมีต่อร่างกายของพวกเขาเอง ต่อวงจรแห่งเวลา และต่อธรรมชาติอีกด้วย ภาพเหล่านี้วางรากพื้นฐานทางทัศนศิลป์และทางความคิด ซึ่งต่อมาได้พัฒนากลายเป็นโครงข่ายการแพทย์-อุตสาหกรรม",[],{},{"nodeType":143,"data":17774,"content":17775},{},[17776,17780,17785,17788,17793,17797,17801],{"nodeType":147,"value":17777,"marks":17778,"data":17779},"เมื่อผู้นำสยามต้องเผชิญหน้ากับความอันตรายของการล่าอาณานิคมที่มาพร้อมกับคำกล่าวหาว่าสยาม “ด้อยพัฒนา” พวกเขาจึงหันมาใช้กลวิธีที่ไมเคิล เฮิร์ซเฟลด์ (Michael Herzfeld) เรียกว่า ",[],{},{"nodeType":147,"value":17781,"marks":17782,"data":17784},"อาณานิคมอำพราง",[17783],{"type":808},{},{"nodeType":147,"value":6213,"marks":17786,"data":17787},[],{},{"nodeType":147,"value":17789,"marks":17790,"data":17792},"(crypto-colonialism)",[17791],{"type":808},{},{"nodeType":147,"value":6240,"marks":17794,"data":17796},[17795],{"type":5869},{},{"nodeType":147,"value":6213,"marks":17798,"data":17800},[17799],{"type":808},{},{"nodeType":147,"value":17802,"marks":17803,"data":17804},"เพื่อโต้กลับการเผยแพร่ที่แผ่ขยายไปทั่วกรุงของภาพวาดสรีระสมัยใหม่ พระบาทสมเด็จพระนั่งเกล้าเจ้าอยู่หัว รัชกาลที่ 3 จึงแปลงเขตแดนของวัดโพธิ์ที่เป็นเสมือนสถานที่แห่งอำนาจทางการแพทย์หนุนหลังโดยรัฐ​ ให้กลายเป็นมหาวิทยาลัยสาธารณะ ในสวนของวัดโพธิ์ ถูกประดับตกแต่งไปด้วยรูปปั้นของฤาษีดัดตน ในท่ายืดตัวแบบต่างๆ และบนผนังของแต่ละศาลา ก็ถูกสลักไปด้วยร่างของขอบกายและหลากเส้น ที่แสดงให้เห็นถึงโยงใยของธาตุ ฤดูกาลและพลังงานล่องหนต่างๆ และการเน้นย้ำภาพร่างกายที่มีหลากมิติดังกล่าวเป็นเสมือนการแทรกแซงกระบวนการทำให้เป็นสมัยใหม่ของตะวันตกในเชิงจักรวาลวิทยา กระบวนการเทคนิคเชิงจักรวาลทัศน์ยังได้รับการปกป้องไว้ไม่ให้สูญหาย ถึงแม้ว่าจะถูกรวบหัวรวบหางให้อยู่ในระเบียบที่รัฐสามารถตรวจสอบ สั่งสอนและยึดครองได้ สิ่งที่เกิดขึ้นจึงเปรียบเสมือนโล่เพื่อป้องกันไม่ให้นักล่าอาณานิคมกล่าวหาว่ามุมมองการมองโลกเช่นนี้ล้าหลัง แต่ในขณะเดียวกันก็เป็นกับดักที่ทำให้การเยียวยาของไทยตกอยู่ใต้อำนาจควบคุมของรัฐ",[],{},{"nodeType":143,"data":17806,"content":17807},{},[17808],{"nodeType":147,"value":17809,"marks":17810,"data":17811},"ที่วิปริตยิ่งขึ้นไปอีกก็คือ การวางกฎเกณฑ์โดยรัฐเพื่อครอบแนวปฏิบัติการเยียวยาแผนไทยเป็นแนวทางที่ขัดแย้งกับธรรมชาติของแนวทางบำบัดดังกล่าวโดยสิ้นเชิง เพราะการเยียวยาแผนไทยไม่เคยลงกรอบในระบอบระบบเดียว แต่เป็นหมู่ความสัมพันธ์ที่เขยื้อนเพื่อปรับตัวกับยุคสมัยอยู่เสมอ และเปิดรับอิทธิพลจากวัฒนธรรมอื่นๆ อย่างอินเดีย จีน ขอม ทิเบต ชาติพันธุ์พื้นถิ่นไท และรวมไปถึงชาติตะวันตกในภายหลัง ความแก่กล้าของแนวทางนี้อยู่ที่ความสามารถในการปรับตัวได้อย่างทันยุคทันสมัย ส่วนหนึ่งของการวิจัยเรื่องการเยียวยาแผนไทยของฉันเอง ฉันได้มีโอกาสพูดคุยกับธารินี หมอตำแยโบราณ ที่เรียกตัวเองว่าเป็น “ผู้ปรปักษ์รักษาทางเข้าและทางออกสู่วงจรต่างๆ และสู่จักรวาล” เธอได้ย้ำเตือนให้เราฟังว่า “เมื่อใดก็ตามที่แนวทางปฏิบัติในการเยียวยาหยุดนิ่งลง หรือกลายเป็นเรื่องของเหตุผล เมื่อนั้นเราก็ถูกตัดขาดจากวงจร…และเมื่อนั้นเองที่ชีวิตของแนวทางนั้นดับสิ้นลง”",[],{},{"nodeType":143,"data":17813,"content":17814},{},[17815,17819,17823,17827],{"nodeType":147,"value":17816,"marks":17817,"data":17818},"ความรีบร้อนที่จะแช่แข็งและขึงความรู้ให้เป็นแบบแผนปะทุขึ้นจากเงามืดของการสอดแนมของนักล่าอาณานิคม ในสายตาของพวกเขาแล้ว กระบวนการที่ลื่นไหลเช่นนี้จะถูกนับว่าเป็นส่วนหนึ่งของความเป็นสมัยใหม่ได้ก็ต่อเมื่อมันถือว่าเป็น “ขนบธรรมเนียม” เท่านั้น สิ่งที่เกิดขึ้นก็คืออาการเมาค้างอาณานิคม นั่นคือความกระหายของแท้ดั้งเดิม แต่จากมุมมองของคนนอก ที่มีแต่จะบิดเบือนว่าภาพการเยียวยาแผนไทยจะถูกจดจำ แสดง และบังคับใช้อย่างไรในปัจจุบัน ไม่เพียงแต่โลกทัศน์พื้นถิ่น แม้แต่ปรัชญาเชิงสัมพัทธ์เองก็รู้ดีว่าการตรึงขึง “ขนบธรรมเนียม” ให้กลายเป็นวัตถุที่หยุดนิ่งถือเป็นการจัดแจงที่ผิดมหันต์",[],{},{"nodeType":147,"value":6306,"marks":17820,"data":17822},[17821],{"type":5869},{},{"nodeType":147,"value":17824,"marks":17825,"data":17826}," แอนนา ซิง (Anna Tsing) เตือนเราอยู่เสมอว่า ไม่มีวัตถุที่หยุดนิ่งอย่างแท้จริง จะมีก็เพียงแต่หมู่ความสัมพันธ์ที่ไม่มั่นคงแน่นอน และที่สามารถให้กำเนิดสิ่งอื่น และแอสเซมบลาจในฐานะ “การรวมพลปลายเปิด” ของสิ่งมีชีวิตหลากหลายรูปแบบ",[],{},{"nodeType":147,"value":6315,"marks":17828,"data":17830},[17829],{"type":5869},{},{"nodeType":143,"data":17832,"content":17833},{},[17834],{"nodeType":147,"value":17835,"marks":17836,"data":17837},"\nเมื่อถึงช่วงต้นศตวรรษที่ 20 คลื่นแห่งการแพทย์ตะวันตกก็เดินหน้าเต็มกำลังสู่ชีวการแพทย์ โรงพยาบาลศิริราชที่ครั้งหนึ่งเคยเป็นที่พึ่งของทั้งการแพทย์แผนโบราณและแบบตะวันตก ก็ปิดภาคแผนโบราณไปอย่างถาวรเมื่อปี 1915 และในปี 1936   รัฐไทยได้มีประกาศบังคับใช้พระราชบัญญัติควบคุมการประกอบโรคศิลปะ ที่กำหนดให้รูปแบบการรักษาทั้งในเชิงจิตวิญญาณ ที่ดูมหัศจรรย์และที่กระทำผ่านโวหารกลายเป็นกระบวนการที่ผิดกฎหมาย การทลายความซับซ้อนโดยรัฐจึงสำเร็จลุล่วง เหล่าหมอตำแย ชาแมน ฤาษี และหมอยาสมุนไพร ที่เคยเป็นศูนย์กลางของชีวิตแบบดั้งเดิม ก็ถูกแทนที่ด้วยผู้เชี่ยวชาญที่ได้รับการรับรองโดยรัฐ ",[],{},{"nodeType":5945,"data":17839,"content":17903},{"target":17840},{"metadata":17841,"sys":17844,"fields":17853},{"tags":17842,"concepts":17843},[],[],{"space":17845,"id":17847,"type":18,"createdAt":17848,"updatedAt":17848,"environment":17849,"publishedVersion":91,"revision":216,"contentType":17851,"locale":31},{"sys":17846},{"type":14,"linkType":15,"id":16},"10YeULakzxuJNiTH7ah1gr","2026-01-20T11:40:09.221Z",{"sys":17850},{"id":23,"type":14,"linkType":24},{"sys":17852},{"type":14,"linkType":29,"id":5961},{"name":17854,"images":17855,"visibility":5987,"galleryFormat":5988,"gallerySize":5989,"gridColumns":5866,"gridSpacing":5990,"scrollImageSize":5989,"imageOptions":17902},"Situating a Body within the Cosmos (thai) 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Chao Mai, 1995. Photography by Thairat Lim. Courtesy Tarini Graham.\n\nธารินีระหว่างการอยู่ไฟ การแสดงที่ไม่ได้จัดฉากของการสืบทอดภูมิปัญญาผ่านร่างกายและกระบวนการเทคนิคเชิงจักรวาลทัศน์ในสยาม. เจ้าไหม, 1995. ภาพโดยไทยรัฐ ลิ้ม. ภาพอนุเคราะห์โดยธารินี เกรแฮม",{"url":17872,"details":17873,"fileName":17878,"contentType":228},"\u002F\u002Fimages.ctfassets.net\u002F2urh0izv0sep\u002F4VmCQPNwiUEPb5bnAc6SrX\u002F938d006ab0633616a0649a042f707aca\u002Fimages-152.png",{"size":17874,"image":17875},4036759,{"width":17876,"height":17877},2058,1407,"images-152.png",{"metadata":17880,"sys":17883,"fields":17891},{"tags":17881,"concepts":17882},[],[],{"space":17884,"id":17886,"type":212,"createdAt":17887,"updatedAt":17888,"environment":17889,"publishedVersion":50,"revision":91,"locale":31},{"sys":17885},{"type":14,"linkType":15,"id":16},"43Fsf901JMPlCnrFe9uq50","2026-01-20T11:30:28.098Z","2026-01-20T13:01:20.442Z",{"sys":17890},{"id":23,"type":14,"linkType":24},{"title":17892,"description":17893,"file":17894},"images-153","Toh Mina, the 91-year old midwife holding Saeng-Fah, the community peeking in. 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Courtesy Tarini Graham.\n\nโต๊ะ มีนา หมอตำแยอายุ 91 ปีอุ้มแสงฟ้า ขณะที่ชาวบ้านแอบมองจากด้านนอก. ภาพโดยไทยรัฐ ลิ้ม. ภาพอนุเคราะห์โดยธารินี เกรแฮม",{"url":17895,"details":17896,"fileName":17901,"contentType":228},"\u002F\u002Fimages.ctfassets.net\u002F2urh0izv0sep\u002F43Fsf901JMPlCnrFe9uq50\u002F39c0140811b1e39ea793158146253d93\u002Fimages-153.png",{"size":17897,"image":17898},3096716,{"width":17899,"height":17900},2057,1383,"images-153.png",[4640],[],{"nodeType":5812,"data":17905,"content":17906},{},[17907,17911],{"nodeType":147,"value":17908,"marks":17909,"data":17910},"\n",[],{},{"nodeType":147,"value":17912,"marks":17913,"data":17915},"ครรภ์ที่ให้กำเนิดมารดา 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และจิตวิญญาณที่เข้ามาปกป้องคุ้มกันวงจรแห่งการเปลี่ยนแปลงด้วยการเชื่อมโยงทุกมิติแห่งจักรวาล",[],{},{"nodeType":143,"data":17931,"content":17932},{},[17933],{"nodeType":147,"value":17934,"marks":17935,"data":17936},"สองสัปดาห์หลังจากที่ฉันได้ให้กำเนิดบุตรสาว ฉันได้เชิญหมอที่รู้การทำอยู่ไฟเพื่อติดตั้งเต๊นท์ในห้องน้ำที่บ้าน เธอจัดแจงวางหม้อหุงข้าวที่กำลังต้มสมุนไพรในน้ำเดือด การสูดหายใจไอน้ำนั้นกวนกรุ่นสิ่งที่อยู่เบื้องลึกภายใน จนแทบทนไม่ไหวในตอนแรก เธอแนะนำให้ฉันค่อยๆ เพิ่มเวลาการอยู่ในห้องนั้นนานขึ้นในแต่ละระยะ เริ่มต้นด้วยยี่สิบนาทีก่อน และในวันที่ห้าฉันก็สามารถทนอยู่ได้ถึงสี่สิบนาที เมื่อเวลาผ่านไปฉันก็ทนได้นานขึ้น และรู้สึกผ่อนคลายเสียด้วยซ้ำ เช้าแต่ละวันเริ่มด้วยการนวดแผนไทยในแบบที่เธอได้ปรับขึ้นมาใหม่ ตามด้วยการประคบสมุนไพร และอิฐร้อนที่เธออุ่นขึ้นบนเตาในห้องนอนของเรา และเมื่อออกมาจากห้องอยู่ไฟที่พร่ามัวไปด้วยไอน้ำ เธอก็ราดน้ำสมุนไพรร้อนๆ ทั่วร่างใต้โสร่งของฉัน เป็นอ้อมกอดที่อ่อนโยนที่สุดที่ฉันเคยรู้สึกในชีวิต ประสบการณ์การอยู่ไฟยังคงอยู่ในตัวฉัน และฉันเองก็อยากจะเข้าใจว่าทำไมกระบวนการนี้ถึงได้ทำให้ฉันหวั่นไหวได้ขนาดนี้ ",[],{},{"nodeType":143,"data":17938,"content":17939},{},[17940],{"nodeType":147,"value":17941,"marks":17942,"data":17943},"ธารินีฟังฉันเล่าประสบการณ์ที่ว่าอย่างใจเย็น และบอกฉันว่าการอยู่ไฟที่ฉันได้รับ “ไม่ใช่ของแท้ดั้งเดิม” แต่เป็นแนวทางแบบ “เพื่อสุขภาพ” เธอบอกว่า สมุนไพรต้องสด และพิธีกรรมอยู่ไฟต้องเริ่มทันทีหลังจากการทำคลอด และต้องมีระยะเวลานานกว่านี้ การยืนยันแบบเงียบๆ ของเธอทำให้ฉันกลับไปคิด และบทสนทนาของเราก็ค่อยๆ เขยื้อนเคลื่อนโลกของฉันทั้งใบ",[],{},{"nodeType":143,"data":17945,"content":17946},{},[17947],{"nodeType":147,"value":17948,"marks":17949,"data":17950},"“ในโลกแห่งการทำคลอด สิ่งนึงที่เราไม่ค่อยจะพูดถึงกันคือประสาทสัมผัสที่ละเอียดลออ ทั้งๆ ที่เรื่องนี้แหละที่นำเราไปสู่จิตสำนึกอันกว้างขวางไพศาล และสหายสำคัญสุดของความละเอียดลออที่ว่าก็คือไอน้ำและควัน สารพัดสมุนไพรก็คือการพัฒนาของประสาทสัมผัสที่ละเอียดลออนั่นเอง มันไม่ใช่แค่การนั่งอยู่ข้างๆ กองไฟ แต่คุณกำลังทำความรู้จับกับพืชพรรณเหล่านั้น” ",[],{},{"nodeType":143,"data":17952,"content":17953},{},[17954],{"nodeType":147,"value":17955,"marks":17956,"data":17957},"ฉันโพล่งขึ้นมาว่า “เหมือนกับการเรียนภาษาใหม่” แล้วเราทั้งคู่ก็น้ำตาคลอเบ้า\nเธอพูดต่อ",[],{},{"nodeType":143,"data":17959,"content":17960},{},[17961],{"nodeType":147,"value":17962,"marks":17963,"data":17964},"“ซึ่งก็คือเหตุผลว่าทำไมเราถึงมีบทสวด และดนตรีร่วมด้วย เหมือนเรากำลังผสานไอน้ำเข้ากับเสียง เชื่อกันว่าแต่ละโมเลกุลของไอน้ำนำพาแก่นสารของสมุนไพรแต่ละชนิดและความปรารถนาด้วย เพื่อจุดประกายระบบการทำงานของทารกน้อยตั้งแต่ลมหายใจแรก และรวมไปถึงการเยียวยารักษาร่างกายของมารดาด้วย โดยกระบวนการนี้ตั้งอยู่บนพื้นฐานของจิตสำนึกทั้งเจ็ดมิติ โลกภายนอกเชื่อมโยงไปกับดินแดนแห่งจักรวาลท้องทะเล โลกแห่งพลังงาน ผี และแร่ธาตุบนโลก โลกมหัศจรรย์ พื้นที่ในครรภ์และพื้นที่ภายใน ไปจนถึงจักรวาลระดับเซลล์ที่สะท้อนจักรวาลภายนอกเช่นกัน จากที่ฉันเข้าใจ การอยู่ไฟจึงถูกออกแบบมาเพื่อให้คุณรับรู้ถึงมิติต่างๆ เหล่านี้ แม้กระทั่งส่วนผสมของสมุนไพรก็ถูกเลือกมาเพื่อให้เกิดจิตสำนึกอันเปิดกว้างระหว่างตัวคุณกับสิ่งแวดล้อม พิธีกรรมนี้จึงไม่ใช่เพียงการจัดแจงเหตุการณ์ในมิตินี้เท่านั้น มันเป็นหน้าที่ขั้นพื้นฐานในการติดต่อกับจิตสำนึกทั้งเจ็ดมิติ”",[],{},{"nodeType":143,"data":17966,"content":17967},{},[17968,17972,17976,17980,17984,17988,17992],{"nodeType":147,"value":17969,"marks":17970,"data":17971},"การมองว่าพิธีกรรมการอยู่ไฟถือเป็นกระบวนการที่เชื่อมโยงเจ็ดมิติจึงเป็นการเหลือบแลดูการสร้างโลกที่ยังคงคำนึงถึงความสัมพัทธ์และมิติอันหลากหลาย ในที่นี้พืชสมุนไพรไม่ได้ถูกเลือกมาเพื่อสนองสรีระวิทยาเท่านั้น แต่ยังคำนึงถึงการสั่นสะเทือนทางพลังงานด้วย ผู้เข้าร่วมพิธีกรรมที่มีความตั้งใจสมัครใจก็จะรู้อยู่แล้วว่าต้องทำตัวอย่างไร",[],{},{"nodeType":147,"value":6338,"marks":17973,"data":17975},[17974],{"type":5869},{},{"nodeType":147,"value":17977,"marks":17978,"data":17979}," การอยู่ไฟเป็นการลงมือปฏิบัติแนวคิดการสัมพัทธ์ เพราะการอยู่ไฟเป็นพิธีกรรมที่นอกจากจะแสดงให้เห็นถึงรูปร่างของกายเราแล้ว ยังวางตำแหน่งให้มันอีกด้วย อันเป็นแห่งที่ที่สอดประสานเข้ากับจังหวะ แร่ธาตุและมิติต่างๆ นอกเหนือไปจากความเป็นวัตถุ อันเป็นเสมือนส่วนขยายของแนวคิดของแอนมารี มอล (Annemarie Mol) ว่าด้วยร่างหลากรูปที่นำไปสู่ความหลากหลายของจักรวาลทัศน์ ที่มองว่าการเยียวยาไม่ใช่การรักษาสิ่งมีชีวิตโดดเดี่ยวแยกขาดจากสิ่งอื่น หากแต่เป็นการสอดรับไปกับระบบของความสัมพันธ์นอกเหนือไปจากมนุษย์",[],{},{"nodeType":147,"value":6354,"marks":17981,"data":17983},[17982],{"type":5869},{},{"nodeType":147,"value":17985,"marks":17986,"data":17987}," หากพิจารณาตามข้อเสนอของของยุก ฮุย (Yuk Hui) ที่ต้องการสนับสนุนกระบวนการเทคนิคเชิงจักรวาลทัศน์หลากหลายรูปแบบ “ที่ไม่ได้แตกต่างกันเพียงในเชิงของสุนทรียศาสตร์และการใช้สอย",[],{},{"nodeType":147,"value":6363,"marks":17989,"data":17991},[17990],{"type":5869},{},{"nodeType":147,"value":17993,"marks":17994,"data":17995}," หากแต่ในเชิงภววิทยาและจักรวาลวิทยาอีกด้วย” ดังนั้นแล้ว การอยู่ไฟจึงถือได้ว่าเป็นกระบวนการปฏิบัติที่แยกออกจากจักรวาลทัศน์ไม่ได้ เป็นวิถีการเป็นอยู่และการสร้างโลกไปพร้อมๆ กัน การอยู่ไฟในฐานะที่เป็นกระบวนการเทคนิคเชิงจักรวาลทัศน์จึงเป็นการพิจารณาอย่างจริงจังว่าการเยียวยาเรียกร้องให้เราต้องคิดถึงความเป็นจริงเสียใหม่ เราต้องเพ่งมองไปที่ตัวหน้าต่างภววิทยาเองด้วย ไม่ใช่เพียงมองโลกภายนอกผ่านมัน",[],{},{"nodeType":143,"data":17997,"content":17998},{},[17999],{"nodeType":147,"value":18000,"marks":18001,"data":18002},"เมื่อเราถูกพรากออกจากการมองและการใช้ชีวิตในโลกในรูปแบบดังกล่าว เราก็ถูกทิ้งให้ลอยเคว้งอยู่ในพื้นที่ที่เรารู้จักกันดี นั่นคือ การสูญพันธุ์ครั้งใหญ่ การล่มสลายทางภูมิอากาศ การส่งทอดแรงงานการดูแลสู่ตลาด และความโศกเศร้าหมู่รวมที่ไม่มีพิธีกรรมใดจะช่วยเยียวยาได้ ",[],{},{"nodeType":143,"data":18004,"content":18005},{},[18006,18010,18014,18018,18022,18026,18030],{"nodeType":147,"value":18007,"marks":18008,"data":18009},"ตรรกะที่มีแต่จะขูดรีดกำลังคร่าชีวิตของพวกเรา แต่เราก็ยังดื้อรั้นจะยื้ออยู่กับตรรกะเดิมๆ น่าเศร้าเหลือเกินที่วันสิ้นโลกดูจะเป็นเรื่องที่จินตนาการได้ง่ายกว่าการล่มสลายของทุนนิยมล่าอาณานิคม",[],{},{"nodeType":147,"value":8037,"marks":18011,"data":18013},[18012],{"type":5869},{},{"nodeType":147,"value":18015,"marks":18016,"data":18017}," ตรรกะเช่นนี้มีแต่จะกดทับรูปแบบการใช้ชีวิตให้แบนราบภายใต้การย่ำยีของรัฐและการใช้งานโดยตลาด สกัดโลกที่เต็มไปด้วยชีวิตชีวาให้กลายเป็นเพียงทรัพยากรเพื่อการขุดเจาะ ในแขตแดนแห่งการขูดรีดเช่นนี้ หมอตำแยจึงกลายเป็นเรื่องความเชื่องมงาย พืชสมุนไพรกลายเป็นเพียงวัตถุดิบ พิธีกรรมคือแบบแผนเพื่อสุขภาพและมนุษย์กลายเป็นเพียงร่างตัวแทน",[],{},{"nodeType":147,"value":8053,"marks":18019,"data":18021},[18020],{"type":5869},{},{"nodeType":147,"value":18023,"marks":18024,"data":18025}," การพัฒนาแบบมีเหตุมีผลที่ได้รับการเฉลิมฉลองนำไปสู่ความโดดเดี่ยว ที่พรากเราออกจากกันและกัน ออกจากสภาพแวดล้อม จังหวะการเคลื่อนไหว และมิตรนอกเหนือจากมนุษย์ ลำดับขั้นและการแบ่งแยกที่เป็นส่วนวางโครงสร้างของโลกสมัยใหม่ ไม่ว่าจะเป็นระบบที่เหยียดเชื้อชาติ ปิตาธิปไตย หรือตรรกะขูดรีดก็ตาม ทั้งหมดไม่ใช่ปัญหาที่แยกขาดต่างหาก แต่เป็นการแสดงออกของสถาปัตยกรรมเดียวกัน ดังที่เฟรด มอเตน (Fred Moten) และสเตฟาโน ฮาร์นีย์ (Steafno Harney) ได้กล่าวเอาไว้ “ไอ้เหี้ยนี่ก็กำลังฆ่ามึงอยู่เหมือนกันน่ะแหละ ถึงจะดูอ่อนโยนยังไงก็ตามเหอะ ไอ้โง่ดักดาน เข้าใจมั้ย?”",[],{},{"nodeType":147,"value":8102,"marks":18027,"data":18029},[18028],{"type":5869},{},{"nodeType":147,"value":17908,"marks":18031,"data":18032},[],{},{"nodeType":5812,"data":18034,"content":18035},{},[18036],{"nodeType":147,"value":18037,"marks":18038,"data":18040},"แฮปปี้เอนดิ้งและความโลกสวยอันทารุณ: นวดแผนไทย ภาพจำ และชีวิตเพื่อสุขภาพแบบความเมาค้างอาณานิคม ",[18039],{"type":290},{},{"nodeType":143,"data":18042,"content":18043},{},[18044,18048,18052],{"nodeType":147,"value":18045,"marks":18046,"data":18047},"เศษซากของจักรวาลวิทยาอันกว้างใหญ่นี้ที่เรายังพอเห็นได้วันทุกวันนี้กลับกลายเป็นการนวดแผนไทยอย่างน่าย้อนแย้งเสียเหลือเกิน การนวดแผนไทยกลายเป็นสิ่งไร้ร่างที่แปลงกายไปเรื่อย และกลายเป็นสักขีพยานว่าการอยู่รอดใน “ซากเดนทุนนิยม” ขึ้นอยู่กับ “สภาวะพึ่งพิง” แม้ว่าการพึ่งพิงที่ว่าจะต้องเกิดขึ้นกับตัวการที่แปลงขนบธรรมเนียมให้กลายเป็นสินค้าและลบตัวตนนั้นทิ้งเสีย",[],{},{"nodeType":147,"value":8170,"marks":18049,"data":18051},[18050],{"type":5869},{},{"nodeType":147,"value":18053,"marks":18054,"data":18055}," การนวดแผนไทยเป็นส่วนหนึ่งของระบบการดูแลแบบส่วนรวมมาตั้งแต่ก่อนที่มันจะกลายเป็นกระแสเพื่อสุขภาพและยี่ห้อประจำชาติ การนวดแผนไทยกับภาพจำของหญิงไทยเป็นสองสิ่งที่ยึดโยงกันอย่างแนบชิดและแทบจะแยกออกจากกันไม่ได้ และเป็นสิ่งประดิษฐ์ของความเป็นสมัยใหม่ที่ได้จัดการห่อพัสดุ พร้อมตรารับรองและเพื่อการส่งออก ",[],{},{"nodeType":143,"data":18057,"content":18058},{},[18059],{"nodeType":147,"value":18060,"marks":18061,"data":18062},"การบิดตัวเป็นเกลียวเพื่อการอยู่รอดไม่ได้เกิดขึ้นเองในสุญญากาศ แต่เกิดขึ้นผ่านการประสบพบกับอำนาจของรัฐ การทหาร การท่องเที่ยวและตลาดเพื่อสุขภาพในโลกสากลที่ถอนรากการนวดออกจากผืนดินจักรวาลวิทยาอย่างไม่หยุดหย่อน เมื่อการนวดได้รับการบรรจุเข้าสู่สถาบันในวัดโพธิ์ในช่วงศตวรรษที่สิบเก้า การนวดก็ได้รับการยอมรับจากรัฐและถูกแยกออกจากขนบการเยียวยาอื่นๆ และรอยแยกนั้นก็มีแต่จะห่างเหินมากขึ้นเรื่อยๆ ในศตวรรษที่ยี่สิบ ในขณะที่การแพทย์ถูกเชิดชูให้เป็นเรื่องการพยาบาลและวิทยาศาสตร์ การนวดถูกผลักให้เป็นเรื่องของความเป็นหญิง สินค้าทำกำไร และสถานผ่อนคลายน่าแสวงหา การนวดแผนไทยถูกเชิดให้กลายเป็นสัญลักษณ์แห่งการเยียวยาประจำชาติ ถึงแม้จะได้รับการมองเห็นอย่างบ้าคลั่ง แต่ก็ถูกมองเห็นเพียงแค่เศษเสี้ยวและที่ถูกบิดเบือน ",[],{},{"nodeType":143,"data":18064,"content":18065},{},[18066,18070,18074],{"nodeType":147,"value":18067,"marks":18068,"data":18069},"กระบวนการผลิตการมองเห็นแต่เพียงผิวเผินเกิดขึ้นตั้งแต่ศตวรรษที่ยี่สิบ ช่วงสงครามอเมริกันในเวียดนาม ทหารอเมริกันหลายพันนายเดินทางผ่านกรุงเทพฯ พัทยาและอุดรธานี และเปลี่ยนหมู่บ้านทางการเกษตรให้กลายเป็นเขตหย่อนใจของนายทหารอย่างไม่เป็นทางการ ถึงแม้ว่าในช่วงเวลานั้นการค้าประเวณียังเป็นเรื่องผิดกฎหมาย แต่ก็เป็นเรื่องที่ทางการยอมอะลุ่มอล่วยเพื่อรับเงินตราต่างประเทศและผลประโยชน์ทางภูมิศาสตร์การเมือง",[],{},{"nodeType":147,"value":8241,"marks":18071,"data":18073},[18072],{"type":5869},{},{"nodeType":147,"value":18075,"marks":18076,"data":18077}," ในพื้นที่สีเทาทางศีลธรรมนี้ การนวดแผนไทยกลายเป็นทั้งปัญหาทางศีลธรรมและทางออกทางเศรษฐกิจ เป็นฉากหน้าอันนุ่มนวลต่อหน้าเศรษฐกิจอันยากเข็ญของการทหารและความปรารถนา ผลที่ตามมาคือการก่อตัวขึ้นของชนชั้นแรงงานที่นอกจากจะถูกตราความยั่วเพศแล้ว ยังถูกมองเป็นสินค้าค้าขายและถูกดูหมิ่นดูแคลน กระบวนการที่ยึดร่างกายหญิงไทยติดไว้กับการบริการนวดในภาพจินตนาการนานาชาติ จากจุดนี้ “การนวดแผนไทย” และ “หญิงไทย” จึงเดินทางไปพร้อมกันในฐานะภาพจำที่แยกจากกันไม่ได้ ความว่านอนสอนง่าย น่าแปลกใหม่น่าแสวงหา และความพร้อมรับใช้อยู่ตลอดเวลา และมรดกภาพจำนี้ก็กลับมาคอยหลอกหลอนย้ำเตือนทุกครั้งที่หญิงไทยต้องรับฟังคำขอ “แฮปปี้เอนดิ้ง” อยู่ตลอดเวลา",[],{},{"nodeType":143,"data":18079,"content":18080},{},[18081,18085,18089],{"nodeType":147,"value":18082,"marks":18083,"data":18084},"ตั้งแต่เวลาที่ไทยกลายเป็นจุดหมายหนึ่งในเส้นทางฮิปปี้ข้ามทวีปจากโกอา เหล่านักแสวงทางจิตวิญญาณที่รู้สึกผิดหวังกับความโดดเดี่ยวจากทุนนิยมและโลกตะวันตกที่เต็มไปด้วยสงคราม จึงล่องตัวเข้าสู่เชียงใหม่และเมืองต่างๆ ทางตอนเหนือกลุ่มนักเดินทางเหล่านี้นอกจากจะมาพร้อมกับความปรารถนาการเยียวยาแล้ว ก็กระหายจะครอบครองมันด้วยเช่นกัน แต่เดิมแล้วการนวดแผนไทยจะสามารถเรียนรู้ได้ผ่านการฝากตัวกับอาจารย์ และลับฝนสัมผัสลึกซึ้งเป็นระยะเวลาหลายปี แต่การพรั่งพรูเข้ามาของชาวต่างชาติได้เปลี่ยนรูปแบบการส่งทอดวิชานี้ไป",[],{},{"nodeType":147,"value":8257,"marks":18086,"data":18088},[18087],{"type":5869},{},{"nodeType":147,"value":18090,"marks":18091,"data":18092}," ลำดับการนวดแผนไทยที่เราคุ้นเคยกันในปัจจุบันที่เริ่มจากเท้าขึ้นมาที่ศีรษะ การพลิกตัวและยืดตัวด้านข้าง แท้จริงแล้วเป็นผลจากการเปลี่ยนทางญาณวิทยาจนทำให้แบนราบ เพื่อให้นักท่องเที่ยวและนักเรียนชาวต่างชาติเข้าถึงได้ง่าย กระบวนการที่เน้นการใช้สัญชาตญาณก็ถูกแปลให้เป็นกิจวัตรซ้ำซากที่มีลำดับกำหนดไว้ชัดเจน",[],{},{"nodeType":143,"data":18094,"content":18095},{},[18096,18100],{"nodeType":147,"value":18097,"marks":18098,"data":18099},"การท่องเที่ยวและเที่ยวบินนานาชาติยิ่งเร่งให้การเปลี่ยนแปลงเหล่านี้เกิดขึ้นเร็วขึ้นไปอีก มีร้านนวดผุดตัวขึ้นมากมาย และในทศวรรษที่ 1980 ร้านนวดก็กลายเป็นที่นิยมเสียจนรัฐเองก็ไม่สามารถเมินเฉยต่อไปได้อีก ดังนั้นรัฐบาลจึงจัดตั้ง “โครงการฟื้นฟูการนวดแผนไทย” ขึ้นในปี 1985 และก่อตั้งสถาบันการแพทย์แผนไทยในปี 1993 และรูปแบบการนวดที่สองรัฐบาลรับรองก็เป็นเทคนิคเช่นการรีดเส้น ที่มีการสัมผัสตัวไม่ใกล้ชิดมากนักและจึงเป็นที่เหมาะสมในการส่งออกไปเวทีนานาชาติ",[],{},{"nodeType":147,"value":8273,"marks":18101,"data":18103},[18102],{"type":5869},{},{"nodeType":143,"data":18105,"content":18106},{},[18107],{"nodeType":147,"value":18108,"marks":18109,"data":18110},"รัฐเองเป็นตัวขับเคลื่อนให้การแพทย์แผนไทยดั้งเดิมเป็นอุตสากรรม และกระบวนการดังกล่าวก็ได้กีดกันพหุนิยมที่อนุญาตให้ความแตกต่างหลากหลายอยู่ร่วมกันได้ หมอที่ไม่มีใบอนุญาตที่อาจจะมีแนวทางการบำบัดต่างไปจากรูปแบบที่ได้รับการอนุมัติก็ถูกผลักให้อยู่ชายขอบ ถึงแม้ว่าหลายคนก็ยังให้บริการอยู่ แต่สถานะที่ไม่ถูกกฎหมายของพวกเขาก็ทำให้การประกอบเป็นอาชีพหรือการถ่ายทอดความรู้ต่อไปนั้นลำบาก ถึงแม้ว่าหลายคนก็เข้าไปเรียนหลักสูตรของรัฐด้วยเช่นกัน แต่การฝึกฝนที่แท้จริงมาจากมรดกที่สืบทอดมาจากรุ่นสู่รุ่นและก็ไปไกลกว่าประมวลวิชาจากทางการเป็นอย่างมาก หมอเหล่านั้นเป็นเหมือนเลือดเนื้อของสิ่งที่เราเรียกว่าความเป็นสมัยใหม่ที่ต้องมนต์ (enchanted modernities) ที่ยังถือครองจังหวะที่ยังยืดหยัดได้อยู่นอกโครงข่ายการแพทย์-อุตสาหกรรม แต่ในเมื่อความรู้นี้ไม่สามารถถูกนำไปใช้ได้อีกหรือไม่สามารถถ่ายทอดต่อไปได้ สิ่งที่สูญหายไปจึงไม่ใช่ “ขนบธรรมเนียม” แต่เป็นความสามารถในการมีชีวิตอยู่ในการสัมพันธ์กับสิ่งอื่น",[],{},{"nodeType":143,"data":18112,"content":18113},{},[18114,18118,18123,18127,18132],{"nodeType":147,"value":18115,"marks":18116,"data":18117},"ภาพจำหญิงไทยเป็นเสมือนมรดกตกทอดที่มีแต่ความสิ้นหวัง และในฐานะที่ฉันเป็นได้เพียงแต่ฝ่ายรับเท่านั้น ฉันก็จำต้องเชื่อว่าภาพดังกล่าวเดี๋ยวก็แล่นผ่านไป แต่วัฒนธรรมป๊อปยังพอมีความหวังอยู่บ้าง ประเทศไทยตอนนี้อยู่ในยุคแห่ง",[],{},{"nodeType":147,"value":18119,"marks":18120,"data":18122},"ไวท์โลตัส ",[18121],{"type":808},{},{"nodeType":147,"value":18124,"marks":18125,"data":18126},"(",[],{},{"nodeType":147,"value":18128,"marks":18129,"data":18131},"White Lotus) ",[18130],{"type":808},{},{"nodeType":147,"value":18133,"marks":18134,"data":18135},"ภาพจำเดิมๆ ของหญิงไทยที่นอบน้อม ที่ยั่วยวนและที่อยู่ห่างไกลเริ่มจะเลือนหายไป สายตาที่จ้องมองเริ่มเหไปทางอื่น และไปจับจ้องจิตสำนึกที่แตกเป็นเศษเสี้ยวของชายคนขาว (ลองไปดูบทพูดเดี่ยวชาคาโมมายล์ที่เป็นที่โด่งดังไปแล้ว) บทบาทในวงการภาพยนตร์ของไทยได้เปลี่ยนไป จากแต่ก่อนที่เคยเป็นฉากหลังให้กับการผจญภัยของนักท่องเที่ยวแบกเป้และการท่องเที่ยวทางเพศ ปัจจุบันไทยได้กลายเป็นหมุดหมายของการเยียวยาแบบหรูหราและหนทางหลีกหนีความเป็นจริงชั้นสูง แต่เมื่อกิจกรรมเพื่อสุขภาพเข้ามาแทนที่เซ็กส์ในฐานะภาพเพ้อฝันแล้ว การเยียวยาประเภทไหนกันที่เราใฝ่ฝันหา?",[],{},{"nodeType":143,"data":18137,"content":18138},{},[18139,18143,18147,18151,18155,18159],{"nodeType":147,"value":18140,"marks":18141,"data":18142},"เหล่านี้คือคำถามที่เราต้องระลึกไว้เมื่อเราก้าวเข้าสู่ศูนย์เพื่อสุขภาพร่วมสมัยที่ประดับประดาไปด้วยการตกแต่งที่สว่างไสวและเฟ้นมาโดยเฉพาะ แนวหน้าของศูนย์เพื่อสุขภาพชั้นหรูคือศูนย์พักผ่อนชั้นสูงที่กระจายไปทั่วทั้งประเทศ หนึ่งในนั้นตั้งอยู่ในสถานที่ที่ถูกเรียกว่าเป็น “ปอดสีเขียว” ในกรุงเทพฯ ที่จริงๆ แล้วเป็นเกาะบนแม่น้ำที่ถูกสร้างขึ้นทางใต้ของเมืองหลวง ที่นับวันจะเห็นขยะพลาสติกกองสุมเพิ่มขึ้นเรื่อยๆ ตามฝั่งแม่น้ำ เกาะที่ว่ากลายเป็นโอเอซิสท่ามกลางมลพิษยุคหลังอุตสาหกรรมจากถิ่นอื่น เหล่าอินฟลูฯ และกลุ่มคนรวยล้นฟ้าเข้าร่วมรีทรีทอย่าง “ชีวิตและจิตวิญญาณเพื่ออายุที่ยั่งยืน” พร้อมไปกับทีปัก โจปรา (Deepak Chopra) ที่จะพาคุณไปบนเส้นทางแห่งสุขภาพที่ปรับให้เฉพาะตัวบุคคล พร้อมๆ ไปกับการตรวจทางการแพทย์ด้วยเทคโนโลยีชั้นนำ และภูมิปัญญาการบำบัดโบราณ (ราวกับว่าสิ่งเหล่านี้ไม่ได้ถูกวางรากฐานภววิทยาที่ขัดแย้งกันโดยสิ้นเชิง) ฟังดูเผินๆ ก็ดูเหมือนว่าคุณจะได้รับเค้กทั้งก้อนแล้วก็สวาปามมันให้เกลี้ยง รีทรีทเริ่มด้วยพิธีกรรมต้อนรับแบบ “ดั้งเดิม” ที่เต็มไปด้วยกล้วย ข้าวพอง ธูปเทียน ยาสูบและดอกไม้ แขกผู้เข้าร่วมพากันถวายค่าครูมูลค่า 32 บาทพอเป็นพิธี (เพิ่มเติมจาก 17,000 ดอลล่าร์สหรัฐฯ หรือประมาณ 550,000 บาทไทย ค่ารีทรีทที่ได้จ่ายไปแล้ว) อินฟลูฯท่านหนึ่งพูดถึงการสวดใน “ภาษาบาหลี (!?) และสันสกฤต” ว่าฟังดูน่าพิศวงสุดๆ",[],{},{"nodeType":147,"value":8289,"marks":18144,"data":18146},[18145],{"type":5869},{},{"nodeType":147,"value":18148,"marks":18149,"data":18150}," ในวันสุดท้ายผู้เข้าร่วมจะได้ “รางวัลในการเข้าร่วมเวิร์คช็อป COSMOSS”",[],{},{"nodeType":147,"value":8298,"marks":18152,"data":18154},[18153],{"type":5869},{},{"nodeType":147,"value":18156,"marks":18157,"data":18158}," ที่ได้เชิญเคท มอสมาอ่านจดหมายรัก ที่จริงๆ แล้วคือมนต์ตราปลุกใจกว่า 150 บท",[],{},{"nodeType":147,"value":8333,"marks":18160,"data":18162},[18161],{"type":5869},{},{"nodeType":143,"data":18164,"content":18165},{},[18166,18170,18174,18178,18182],{"nodeType":147,"value":18167,"marks":18168,"data":18169},"ในแวดวงผู้ติดตามเทรนด์เพื่อสุขภาพได้พูดถึงรีทรีทนี้ไว้ว่า “นี่คือตัวอย่างที่ชี้วัดถึงทิศทางในอนาคตในอีกไม่กี่ปีข้างหน้าของรีทรีทเพื่อสุขภาพชั้นหรู”",[],{},{"nodeType":147,"value":8342,"marks":18171,"data":18173},[18172],{"type":5869},{},{"nodeType":147,"value":18175,"marks":18176,"data":18177}," สปาสายพันธุ์ใหม่ผุดขึ้นทั่วไทย อันเป็นปรากฏการณ์ที่แสดงให้เห็นถึงความทะเยอทะยานผ่านกิจการเพื่อสุขภาพระดับสากล เห็นได้จากการตกแต่งภายในด้วยสีพาสเทลคู่กับไม้บลอนด์ หินขัด ปูนเปลือยและแสงไฟอันอ่อนโยน ทั้งหมดเป็นภาษาทางทรรศนะที่ถูกออกแบบมาเพื่อตีตนออกห่างจากพื้นที่สีเทาอย่างการท่องเที่ยวทางเพศ หนึ่งในสปาประเภทใหม่ที่ฉันชอบที่สุดซ่อนตัวอยู่ท้ายซอยติดกับย่านพัฒน์พงษ์ในสีลม",[],{},{"nodeType":147,"value":11109,"marks":18179,"data":18181},[18180],{"type":5869},{},{"nodeType":147,"value":18183,"marks":18184,"data":18185}," ฉันไปสปานี้อยู่บ่อยๆ ถึงแม้ว่าจะรู้อยู่แก่ใจว่านี่ไม่ใช่การเยียวยาจริงๆ เป็นแค่กรอบสวยเพื่อพรางความเคว้งคว้าง เป็นเสมือนการหลีกหนีชั่วครู่ที่บรรเทาอาการแพ้พิษเมืองแต่ก็ไม่ได้แตะถึงสาเหตุที่แท้จริงแต่อย่างใด สภาพแวดล้อมที่เรียบร้อยสวยงามเช่นนี้อาจทำให้รู้สึกว่าได้ฟื้นฟูใจ แต่การมีอยู่ของพวกมันก็ขึ้นอยู่กับโครงสร้างเดียวกันที่เอื้อให้เกิดการพัฒนาล้นเกิน การขูดรีดเอาเปรียบ และความโดดเดี่ยวที่ทำให้เราป่วยแต่ต้น ดังที่ลอเรน เบอร์แลนท์ (Lauren Berlant) ได้เตือนเราไว้ว่ากิจกรรมเพื่อสุขภาพมักมาในรูปแบบของความโลกสวยที่ทารุณ เพราะมันหยิบยืนคำสัญญาว่าจะซ่อมแซมเราได้ แต่ขณะเดียวกันก็ผูกเราให้ติดอยู่กับเงื่อนไขที่สูบพลังออกจากตัวเราให้แน่นขึ้นกว่าเก่า ",[],{},{"nodeType":143,"data":18187,"content":18188},{},[18189],{"nodeType":147,"value":18190,"marks":18191,"data":18192},"ด้วยความอยากรู้อยากเห็นว่า “อนาคต” ของศูนย์เพื่อสุขภาพที่ว่า ฉันเลยเยี่ยมรีสอร์ทในเครือเดียวกันกับที่อินฟลูฯ ชื่อดังต่างๆ ไปกัน ในเมื่อรีสอร์ทนี้โฆษณาตัวเองว่าเป็นสถานที่ “สำหรับทุกคน” ด้วยราคาเพียง 200 ดอลล่าร์สหรัฐฯ (หรือประมาณ 6,500 บาท) ฉันก็สามารถเข้าร่วมรีทรีทหนึ่งวันเต็มนี้ได้แล้ว ฉันได้รับการต้อนรับเป็นอย่างดีโดยชายร่างกายกำยำที่ใช้เวลาเกือบชั่วโมงในการจดบันทึกข้อมูลเกี่ยวกับสุขภาพส่วนตัวของฉันในไอแพดของเขา ประกอบไปด้วยข้อมูลเช่น นิสัยส่วนตัวในการหลีกเลี่ยงน้ำตาลแปรรูปของฉัน ที่จะถูกส่งต่อไปให้ฝ่ายรับผิดชอบอื่นๆ เพื่อปรับบริการนี้ให้เข้ากับความต้องการของฉันให้ได้มากที่สุดตามสัญญาที่ให้ไว้อย่างสวยหรู หลังจากได้รับการอาบด้วยคลื่นเสียงคริสตัลในห้องที่ดูเหมือนเป็นสตูดิโอฟิตเนสประดับด้วยคริสตัลสีชมพูที่ถ่ายรูปขึ้นแน่นอน ผู้ดูแลส่วนตัวของฉันก็รีบต้อนฉันเข้าสู่กิจกรรมต่อไป ระหว่างที่ฉันกำลังจิบชาขิงและตะไคร้ที่สามารถกดได้จากตู้ชาในล็อบบี้ ฉันก็ได้รับเอกสารอีกชุดที่ถามให้ฉันเรทระดับความเครียดจาก 1 ถึง 10 แค่นั่งมองกระดาษเอสี่ที่เต็มไปด้วยคำถาม ฉันก็เริ่มจะรู้สึกเครียดแล้วล่ะ หลังจากที่ฉันรับดริปวิตามินไปได้ประมาณสิบนาที พนักงานอีกคนก็กุลีกุจอเข้ามาหาพร้อมเอกสารเพิ่มเติม แต่เพราะแขนขวาของฉันติดอยู่กับเครื่องให้ดริป ฉันเลยต้องเซ็นเอกสารด้วยมือซ้าย ดูเหมือนว่ากระบวนการการจัดการจะเป็นเรื่องเร่งด่วนกว่าการพักผ่อนเสียนี่ ด้านหลังแว่วเสียงการจัดแจงปึกกระดาษที่ดูจะกลายเป็นเสียงฉากหลังไปในตัว สี่สิบนาทีต่อมา พนักงานอีกคนก็เข้ามาเสิร์ฟมาเดอลีนสองชิ้น พร้อมป้ายระบุวัตถุดิบ แป้ง ถั่วพิสตาชิโอ ไข่และน้ำตาลทรายขาวบริสุทธิ์ นี่สินะ ชีวิตเพื่อสุขภาพภายใต้ตรรกะของการบริหารจัดการ",[],{},{"nodeType":143,"data":18194,"content":18195},{},[18196,18200],{"nodeType":147,"value":18197,"marks":18198,"data":18199},"การบีบให้แบนราบก็มีจังหวะของมันเองเหมือนกัน เมื่อถูกทับให้ราบในรูปแบบของขั้นตอนกฎระเบียบ ความซับซ้อนก็เล็ดรอดออกไปส่วนอื่น แม้ว่าเสียงหึ่งของเครื่องจัดแจงกระดาษจะน่ารำคาญแต่ก็บ่งบอกกับเราว่า กระบวนการเยียวยาแบบเทคนิคเชิงจักรวาลทัศน์ได้ถูกยกเครื่องใหม่ให้เข้ากับความเป็นจริงของระเบียบแบบราชการ ความสัมพันธ์ที่ยึดอยู่บนความเชื่อใจต่อผู้รักษา สัญชาตญาณและสัมผัสอันละเอียดลออก็ถูกแทนที่ด้วยเอกสาร ลายเซ็นและกระบวนการตามมาตรฐาน ความเป็นจริงแห่งกระดาษอันตั้งอยู่ท่ามกลางอุปกรณ์มากมาย ที่ดูเหมือนว่าประสบการณ์เพื่อสุขภาพจำเป็นต้องมีเพื่อบริหารจัดการ งานเอกสารก็กลายเป็นพิธีกรรมใหม่ในตัวมันเอง",[],{},{"nodeType":147,"value":11145,"marks":18201,"data":18203},[18202],{"type":5869},{},{"nodeType":143,"data":18205,"content":18206},{},[18207],{"nodeType":147,"value":18208,"marks":18209,"data":18210},"หากงานเอกสารได้กลายเป็นพิธีกรรมของอุตสาหกรรมเพื่อสุขภาพแล้ว อัลกอริทึมก็ดูจะเป็นร่างอวตารต่อมา เราถูกกล่อมมาว่าอนาคตของสุขภาพคือความแม่นยำ ความเฉพาะตัวบุคคลและที่คาดเดาได้ กระแสของการใช้ข้อมูลนี้ตั้งอยู่บนสมมติฐานของ “เนื้อหาข้อมูล” ที่เป็นเส้นตรงและโดดเดี่ยว ที่ถูกแยกออกจากบริบท ความสัมพันธ์และความหลากหลาย มันเดินตามรอยร่างทางวิทยาศาสตร์ที่ถูกแยกส่วน ที่ครั้งหนึ่งนายแพทย์แบรดลีย์ได้นำเข้าสู่สยาม และได้รับการอัพเดทให้เข้ากับยุคสมัยดิจิทัล หากครั้งหนึ่งชีวการแพทย์แปลงกระบวนการเทคนิคเชิงจักรวาลทัศน์ให้กลายเป็นภาพสรีระร่างกายมนุษย์ การแก้ทุกปัญหาด้วยเอไอก็คือการเกิดใหม่ในยุคดิจิทัล เวอร์ชันใหม่ไฉไลของความเพ้อฝันอันโดดเดี่ยวเดิมๆ เมื่ออัลกอริทึมและดาต้าผูกติดกับร่างกายของเรา แปลงให้เรากลายเป็นไซบอร์ก ทั้งยังแทนที่ความตระหนักรู้ด้วยฟีดแบ็กข้อมูลชีวภาพ สิ่งที่เกิดขึ้นก็คือเราจะเริ่มเชื่อข้อมูลมากกว่าสัญชาตญาณตัวเอง ผลลัพธ์ไม่ใช่การตื่นตัวหรือความรู้สึกทรงพลัง หากแต่เป็นการล่องลอยออกห่างร่างของตัวเองและความโดดเดี่ยวที่ไร้ความสัมพันธ์ทางกาย",[],{},{"nodeType":5945,"data":18212,"content":18253},{"target":18213},{"metadata":18214,"sys":18217,"fields":18226},{"tags":18215,"concepts":18216},[],[],{"space":18218,"id":18220,"type":18,"createdAt":18221,"updatedAt":18221,"environment":18222,"publishedVersion":91,"revision":216,"contentType":18224,"locale":31},{"sys":18219},{"type":14,"linkType":15,"id":16},"3laPHiPph6jRDbAmJcBNvV","2026-01-20T11:45:05.887Z",{"sys":18223},{"id":23,"type":14,"linkType":24},{"sys":18225},{"type":14,"linkType":29,"id":5961},{"name":18227,"images":18228,"visibility":5987,"galleryFormat":5988,"gallerySize":7569,"gridColumns":5866,"gridSpacing":5990,"scrollImageSize":5989,"imageOptions":18252},"Situating a Body within the Cosmos (thai) 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Still from _Energy Bodies_ (2023). Courtesy Rosalia Namsai Engchuan.\n\nชีวก ที่ถูกร่างใหม่ให้กลายเป็นบิดาแห่งการแพทย์แผนไทย กลายเป็นรูปปั้นที่ถูกจัดวางประทับอยู่บนศาลในร้านนวดต่างๆ และในพิธีกรรมเพื่อแสดงความเคารพต่อครูบาอาจารย์ ภาพนิ่งจาก _หลากร่างพลังงาน_ (_Energy Bodies_, 2023). ภาพอนุเคราะห์โดยโรซาเลีย น้ำใส เอ่งฉ้วน \n",{"url":18245,"details":18246,"fileName":18251,"contentType":228},"\u002F\u002Fimages.ctfassets.net\u002F2urh0izv0sep\u002FNZ6v7gJax9o9VwP7VI6bM\u002F20610726545ae486b66d3bda80b9564c\u002Fimages-154.png",{"size":18247,"image":18248},780884,{"width":18249,"height":18250},657,1070,"images-154.png",[4640],[],{"nodeType":5812,"data":18255,"content":18256},{},[18257],{"nodeType":147,"value":18258,"marks":18259,"data":18261},"การทำให้แบนราบและสิ่งที่เล็ดรอด: แสงประกายแห่งอนาคตที่อยู่ตรงหน้า",[18260],{"type":290},{},{"nodeType":143,"data":18263,"content":18264},{},[18265,18269,18273],{"nodeType":147,"value":18266,"marks":18267,"data":18268},"แม้วิสัยทัศน์อันคับแคบนี้จะเป็นกระแสหลัก 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เธอก็จัดแจงตระเตรียมน้ำผลไม้จากพืชผลพื้นถิ่นตามฤดูที่เสริมกับดวงเกิดตามตำรับไทย ช่วงเวลาเช่นนั้นรู้สึกมีความเต็มอิ่มในตัวของมันเอง จะเรียกมันว่าแสงประกายก็ได้ เศษเสี้ยวชั่วคราของการเชื่อมโยงติดต่อกับสิ่งอื่นที่ยังสามารถผงาดตัวขึ้นมาได้แม้จะโดนกดทับให้แบนราบ ความแตกต่างระหว่างความงดงามเหล่านี้และความขาดแคลนทางญาณวิทยาของหนทางแก้ไขปัญหาเพื่อสุขภาพจึงไม่ใช่เรื่องเล่าหากแต่เป็นเรื่องทางภววิทยา “การปรับให้เป็นเรื่องเฉพาะบุคคล” อาจไม่ใช่การปรับแพคเกจเพื่อตอบสนองความต้องการของลูกค้า หากแต่เป็นการวางร่างกายในผืนแผ่นแห่งจักรวาลวิทยา",[],{},{"nodeType":143,"data":18278,"content":18279},{},[18280],{"nodeType":147,"value":18281,"marks":18282,"data":18283},"หรือบาดแผลแท้จริงแล้วไม่ใช่ของตัวฉันเอง และไม่ใช่ของประเทศไทย หากแต่เป็นของโลกใบนี้ ที่ถูกกรีดแยกด้วยการกดทับมานานหลายศตวรรษ แต่ก็ยังมีชีวิตที่เล็ดรอดออกมาได้ ในรอยปริแตกของโครงข่ายการแพทย์-อุตสาหกรรม ท่ามกลางการตกแต่งหวือหวาของสปาหรู ในเสียงหึ่งของงานเอกสารกระบวนการเพื่อสุขภาพ ยังมีบางสิ่งที่หลุดรอดออกมาได้เสมอ ไอน้ำยังคงอุ้มบทสวด 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และโลกที่อุปถัมภ์เราทั้งผอง",[],{},{"nodeType":143,"data":18335,"content":18336},{},[18337],{"nodeType":147,"value":18338,"marks":18339,"data":18340},"ดังที่เดวิด เกรเบอร์ (David Graeber) ได้ย้ำเตือนเราไว้ว่า เราคือผู้สร้างโลก และเราสามารถสร้างให้มันแตกต่างออกไปจากเดิมได้ การอยู่ไฟและกระบวนการเยียวยาดั้งเดิมอื่นๆ รู้อยู่แล้วว่าเราไม่เคยต้องสร้างโลกด้วยตัวคนเดียว โลกที่เราสามารถอยู่อาศัยได้ไม่ได้เกิดขึ้นมาจากการออกแบบโดยมนุษย์ หากแต่ผุดเกิดจากการร่วมมือทางจักรวาลและจุลินทรีย์ ดวงดาวที่แผดเผามอดไหม้จนกลายเป็นแร่ธาตุ แบคทีเรียที่สูดอากาศลมหายใจแรก พืชที่แปลงแสงอาทิตย์เป็นชั้นบรรยากาศ ความร้อนภูเขาไฟที่เคลื่อนมหาสมุทร ไมซีเลียมที่ถักทอผืนดินเป็นชีวิต",[],{},{"nodeType":143,"data":18342,"content":18343},{},[18344],{"nodeType":147,"value":18345,"marks":18346,"data":18347},"ดังนั้นแล้ว คำถามสำคัญจึงไม่ใช่ว่าการเยียวยาแผนไทยจะสามารถเอาชีวิตรอดจากความเป็นสมัยใหม่ได้หรือไม่ คำถามคือภาพจำทั้งหลายสามารถทลายลงด้วยการวิพากษ์ คำถามคือเรากล้าพอที่จะตามรอยแสงประกายเหล่านั้นหรือไม่ 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Drawing by EMJA. Pen on paper. Courtesy of the artist.\n\n_วงจรแห่งชีวิต_ (2024) ความเกี่ยวพันและการไหลเวียนที่ก่อให้เกิดการแลกเปลี่ยนระหว่างสิ่งมีชีวิตและโลกหลากใบ โดย EMJA บุตรสาวของธารีนีและผู้สืบทอดธรรมเนียมปฏิบัติของการเยียวยา การมองว่าบางสิ่ง “ดูเหมือนมีชีวิต” คือการเป็นส่วนหนึ่งของวงจรทั้งภาพย่อยและภาคใหญ่ในโลกและหนแห่งอื่น. ภาพวาดโดย EMJA. วาดลายเส้นปากกาบนกระดาษ. ภาพอนุเคราะห์โดยศิลปิน  ",{"url":18382,"details":18383,"fileName":18386,"contentType":228},"\u002F\u002Fimages.ctfassets.net\u002F2urh0izv0sep\u002F6OqIIl3itdbKQbhHuUJtPQ\u002F464f8e39ba5784c83571325fc254f9b0\u002Fimages-155.png",{"size":18384,"image":18385},9650095,{"width":4326,"height":4327},"images-155.png",[4640],[],{"nodeType":6419,"data":18390,"content":18391},{},[],{"nodeType":6423,"data":18393,"content":18394},{},[18395,18399,18404,18408,18413],{"nodeType":147,"value":18396,"marks":18397,"data":18398},"1  กยาทรี จักรวรที สปิวัค (Gayatri Chakravorty Spivak, 1988) ใข้คำว่า",[],{},{"nodeType":147,"value":18400,"marks":18401,"data":18403}," ‘ความรุนแรงทางญาณวิทยา’",[18402],{"type":808},{},{"nodeType":147,"value":18405,"marks":18406,"data":18407}," (epistemic violence) เพื่อสื่อถึงการจู่โจมโดยอาณานิคมที่ต้องการกดทับรูปแบบแนวทางในการรับรู้และเข้าใจของผู้ไร้เสียง (subaltern) ส่วนเจมส์ ซี. สก็อต (James C. Scott) เขียนทฤษฎีที่ว่าด้วย ‘",[],{},{"nodeType":147,"value":18409,"marks":18410,"data":18412},"การลดทอนความซับซ้อนของรัฐ",[18411],{"type":808},{},{"nodeType":147,"value":18414,"marks":18415,"data":18416},"' (state simplification) อันหมายถึงการกดทับกระบวนการใช้ชีวิตของคนพื้นถิ่นที่มีความลื่นไหลให้แบนราบสยบยอมไปกับรูปแบบตามมาตรฐานที่อำนาจการบริหารจัดการเข้าใจและจัดการได้ง่าย",[],{},{"nodeType":143,"data":18418,"content":18419},{},[18420],{"nodeType":147,"value":219,"marks":18421,"data":18422},[],{},{"nodeType":6423,"data":18424,"content":18425},{},[18426,18430,18435],{"nodeType":147,"value":18427,"marks":18428,"data":18429},"2  เคนทิน (ไทรส์) เพียร์สัน [Quentin (Trais) Pearson], “มดลูกพร้อมทิวทัศน์: บทนำสู่สูติศาสตร์ตะวันตกในสยามช่วงศตวรรษที่สิบเก้า [Womb with a View: The Introduction of Western Obstetrics in Nineteenth-Century Siam]”, วารสาร ",[],{},{"nodeType":147,"value":18431,"marks":18432,"data":18434},"Bulletin of the History of Medicine 90, ",[18433],{"type":808},{},{"nodeType":147,"value":18436,"marks":18437,"data":18438},"no.1 (ฤดูใบไม้ผลิ 2016): 13, 14.",[],{},{"nodeType":143,"data":18440,"content":18441},{},[18442],{"nodeType":147,"value":219,"marks":18443,"data":18444},[],{},{"nodeType":6423,"data":18446,"content":18447},{},[18448,18452,18456],{"nodeType":147,"value":18449,"marks":18450,"data":18451},"3  เคนทิน (ไทรส์) เพียร์สัน [Quentin (Trais) Pearson], “มดลูกพร้อมทิวทัศน์: บทนำสู่สูติศาสตร์ตะวันตกในสยามช่วงศตวรรษที่สิบเก้า [Womb with a View: The Introduction of Western Obstetrics in Nineteenth-Century Siam]”, วารสาร ",[],{},{"nodeType":147,"value":18431,"marks":18453,"data":18455},[18454],{"type":808},{},{"nodeType":147,"value":18457,"marks":18458,"data":18459},"no.1 (ฤดูใบไม้ผลิ 2016): 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แพทย์มิชชันนารีวางตัวเองเป็นปฏิปักษ์กับหญิงสูงอาวุโสพื้นถิ่น",[],{},{"nodeType":143,"data":18483,"content":18484},{},[18485],{"nodeType":147,"value":219,"marks":18486,"data":18487},[],{},{"nodeType":6423,"data":18489,"content":18490},{},[18491,18495,18500],{"nodeType":147,"value":18492,"marks":18493,"data":18494},"5  มิเชล ฟูโกต์ (Michel Foucault) เป็นผู้นำเสนอแนวคิดเรื่อง “การมองผ่านสายตาทางการแพทย์” (medical gaze) ในหนังสือ ",[],{},{"nodeType":147,"value":18496,"marks":18497,"data":18499},"ต้นกำเนิดแห่งการพยาบาล [The Birth of the Clinic, 1973) ",[18498],{"type":808},{},{"nodeType":147,"value":18501,"marks":18502,"data":18503},"ที่อธิบายถึงวิธีการที่การแพทย์สมัยใหม่จัดแบ่งร่างกายผ่านระบอบการทรรศนะและอำนาจ",[],{},{"nodeType":143,"data":18505,"content":18506},{},[18507],{"nodeType":147,"value":219,"marks":18508,"data":18509},[],{},{"nodeType":6423,"data":18511,"content":18512},{},[18513,18517,18522,18526,18530],{"nodeType":147,"value":18514,"marks":18515,"data":18516},"6  ไมเคิล 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ที่แปลงสภาพไปตามกระบวนการกลืนกินอาณานิคมภายในเช่นกัน",[],{},{"nodeType":143,"data":18535,"content":18536},{},[18537],{"nodeType":147,"value":219,"marks":18538,"data":18539},[],{},{"nodeType":6423,"data":18541,"content":18542},{},[18543],{"nodeType":147,"value":18544,"marks":18545,"data":18546},"7  ปรัชญาเชิงสัมพัทธ์ได้เตือนถึงความอันตรายที่อาจเกิดขึ้นเมื่อเราตรึงขึงกระบวนการที่ลื่นไหลให้กลายเป็นวัตถุอยู่นิ่งกับที่ เอดูอาร์ กลิสซองต์ (Édouard Glissant, 1990) เน้นย้ำถึงแนวคิดของความสัมพันธ์และความทึบแสง เดอเลอซและกวอตตารี (Deleuze and Guattari, 1980) เสนอแนวคิดของแอสเซมบลาจ (assemblage) ในฐาะรูปแบบที่ไม่ถือเป็นความจริงหนึ่งเดียว บรูโน ลาทัวร์ (Bruno Latour) เสนอทฤษฏีผู้กระทำ-เครือข่าย (actor-network theory) ที่ขยายความเข้าใจของการรวมกลุ่มของผู้คนหลากหลาย และดอนนา ฮาราเวย์ (Donna Haraway, 1988) และแอนนา ซิง (Anna Tsing, 2015) วางพื้นฐานการมองเชิงสัมพัทธ์ที่เสริมมิติด้านนิเวศน์และเฟมินิสม์ ",[],{},{"nodeType":143,"data":18548,"content":18549},{},[18550],{"nodeType":147,"value":219,"marks":18551,"data":18552},[],{},{"nodeType":6423,"data":18554,"content":18555},{},[18556],{"nodeType":147,"value":18557,"marks":18558,"data":18559},"8  แอนนา ซิง (Anna Tsing), เห็ดมัตสึทาเกะ ณ จุดสิ้นสุดของโลก (The Mushroom at the End of the World, 2015), 22-23. ",[],{},{"nodeType":143,"data":18561,"content":18562},{},[18563],{"nodeType":147,"value":219,"marks":18564,"data":18565},[],{},{"nodeType":6423,"data":18567,"content":18568},{},[18569,18573,18578,18582,18587,18591,18596,18600,18605,18608,18613],{"nodeType":147,"value":18570,"marks":18571,"data":18572},"9  ในจักรวาลวิทยาของธารินี ปัญญาทางพืชพรรณไม่ได้แยกขาดจากโครงสร้างของจักรวาล หากแต่เป็นเสมือนเส้นด้ายหนึ่งในการถักทอความตระหนักรู้หลากมิติ หากสนใจอ่านเพิ่มเติมเกี่ยวกับปัญญาทางพืชพรรณสามารถค้นคว้ากับแหล่งอ้างอิงต่อไปนี้ เช่น หนังสือชื่อ 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แสดงให้เห็นว่าโรคภัยเกิดขึ้นจากกระบวนการทางการแพทย์ที่ไม่สอดคล้องกันได้อย่างไร อันเป็นแนวคิดที่ต่อยอดจาก ‘สายตาทางการแพทย์’ ของฟูโกต์ (1963) และสะท้อนไปกับทฤษฎีผู้กระทำ-เครือข่ายของลาทัวร์ (2005) จึงเป็นการวางกรอบความคิดขึ้นเสียใหม่ว่าความเจ็บไข้เป็นการผลิตผ่านความสัมพัทธ์ เพื่อเปิดทางการพิจารณาว่าการเยียวยาคือการสอดรับไปกับระบบของความสัมพันธ์นอกเหนือไปจากมนุษย์",[],{},{"nodeType":143,"data":18640,"content":18641},{},[18642],{"nodeType":147,"value":219,"marks":18643,"data":18644},[],{},{"nodeType":6423,"data":18646,"content":18647},{},[18648,18652,18657,18660,18665],{"nodeType":147,"value":18649,"marks":18650,"data":18651},"11   ยุก ฮุย (Yuk Hui), ",[],{},{"nodeType":147,"value":18653,"marks":18654,"data":18656},"ว่าด้วยเทคโนโลยีในจีน: ข้อเขียนเรื่องกระบวนการทางเทคนิคเชิงจักรวาลทัศน์",[18655],{"type":808},{},{"nodeType":147,"value":18579,"marks":18658,"data":18659},[],{},{"nodeType":147,"value":18661,"marks":18662,"data":18664},"The Question Concerning Technology in China: An Essay in Cosmotechnics, ",[18663],{"type":808},{},{"nodeType":147,"value":18666,"marks":18667,"data":18668},"Falmouth: Urbanomic, 2016), xiii.",[],{},{"nodeType":143,"data":18670,"content":18671},{},[18672],{"nodeType":147,"value":219,"marks":18673,"data":18674},[],{},{"nodeType":6423,"data":18676,"content":18677},{},[18678,18682,18687,18690,18695],{"nodeType":147,"value":18679,"marks":18680,"data":18681},"12  ประโยคที่ว่า “วันสิ้นโลกเป็นเรื่องที่จินตนาการได้ง่ายกว่าการล่มสลายของทุนนิยมล่าอาณานิคม” ที่มักถูกอ้างถึงอยู่บ่อยๆ เป็นประโยคที่หมุนเวียนในข้อวิพากษ์ฝ่ายซ้ายอย่างกว้างขวาง เฟดริก เจมสัน (Fredric Jameson) เป็นคนเริ่มพูดถึงแนวคิดนี้ตั้งแต่ช่วงต้นทศวรรษที่ 1990 เพื่ออธิบายถึงปรากฏการณ์ที่ทุนนิยมตอนปลายถอนรากจินตนาการทางการเมืองจากผู้คน ต่อมาสลาวอย ชิเชค (Slavoj Žižek) ได้พูดถึงเนวคิดดังกล่าวในการบรรยายและข้อเขียนจนทำให้เป็นประโยคนิยม หนังสือ 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",[18715],{"type":808},{},{"nodeType":147,"value":18718,"marks":18719,"data":18720},"2017) เพื่ออธิบายถึงตรรกะแบบทุนนิยมล่าอาณานิคมที่แปลงที่ดิน ร่างกายและวัฒนธรรมให้กลายเป็นทรัพยากรเพื่อการขูดรีดเอารัดเอาเปรียบ ทั้งนี้โกเมซ-บาริสใช้ศัพท์ดังกล่าวในบริบทของระบบนิเวศน์ในทวีปละตินอเมริกา แต่ในที่นี้ “เขตแดนแห่งการขูดรีด” ไม่ได้เป็นเพียงการพูดถึงพื้นที่ทางภูมิศาสตร์ หากแต่เป็นพื้นที่ทางญาณวิทยาและพื้นที่ที่ฝังในเลือดเนื้อร่างกาย การนวดแผนไทยถูกดึงเข้าไปเป็นส่วนหนึ่งของเขตแดนดังกล่าว และหญิงไทยก็ถูกรื้อทึ้งภายในอาณาเขตนั้นเอง ",[],{},{"nodeType":143,"data":18722,"content":18723},{},[18724],{"nodeType":147,"value":219,"marks":18725,"data":18726},[],{},{"nodeType":6423,"data":18728,"content":18729},{},[18730],{"nodeType":147,"value":18731,"marks":18732,"data":18733},"14  เฟรด มอเตน & สเตฟาโน ฮาร์นีย์ (Fred Moten & Stefano Harney), The Undercommons: Fugitive Planning & Black Study (2013), 140, 41. ",[],{},{"nodeType":143,"data":18735,"content":18736},{},[18737],{"nodeType":147,"value":219,"marks":18738,"data":18739},[],{},{"nodeType":6423,"data":18741,"content":18742},{},[18743,18747,18752,18755,18760],{"nodeType":147,"value":18744,"marks":18745,"data":18746},"15  คำว่า “ซากเดนทุนนิยม” (in capitalist ruins) มาจากนักมานุษยวิทยาชื่อ แอนนา ซิง (Anna Tsing) ที่ใช้คำดังกล่าวในหนังสือเรื่อง ",[],{},{"nodeType":147,"value":18748,"marks":18749,"data":18751},"เห็ดมัตสึทาเกะ ณ จุดสิ้นสุดของโลก: ความเป็นไปได้ของชีวิตในซากปรักหักพังของทุนนิยม ",[18750],{"type":808},{},{"nodeType":147,"value":18124,"marks":18753,"data":18754},[],{},{"nodeType":147,"value":18756,"marks":18757,"data":18759},"The Mushroom at the End of the World: On the Possibility of Life in Capitalist Ruins, ",[18758],{"type":808},{},{"nodeType":147,"value":18761,"marks":18762,"data":18763},"2015) โดยเธอสำรวจการอยู่รอดของสิ่งมีชีวิตหลากหลายสายพันธุ์ ที่ยังคงเป็นไปได้แม้จะถูกทำลายล้างด้วยทุนนิยม เธอแสดงให้เห็นการอยู่รอดโดยมากแล้วแทบจะไม่เคยจะเป็นเรื่องของการเป็นเอกภาพหรือความบริสุทธิ์ หากแต่เป็นการพัวพันเชื่อมโยงและการปรับเปลี่ยนในโยงใยระบบนิเวศน์ที่ผุพัง แนวคิดนี้สะท้อนไปกับทฤษฎีเรื่องสภาวะพึ่งพิงอันโด่งดังของนักชีววิทยาลินน์ มาร์กูลิส (Lynn Margulis) ตั้งแต่ช่วงทศวรรษที่ 1960 เป็นต้นมา โดยทฤษฎีสภาวะพึ่งพิงของเธอได้ท้าทายทฤษฎีในสำนักดาร์วินที่เน้นย้ำการแข่งขัน มาร์กูลิสแสดงให้เห็นว่าวิวัฒนาการเองก็ถูกขับเคลื่อนด้วยการรวมตัวกันผ่านสภาวะพึ่งพิง ที่สิ่งมีชีวิตต่างๆ อยู่ร่วมกัน ร่วมมือกันและมีวิวัฒนาการไปพร้อมๆ กัน การตีความว่าการนวดแผนไทยเป็น “สิ่งไร้ร่างที่แปลงกายไปเรื่อย” คือการมองการอยู่รอดผ่านมุมมองที่ได้กล่าวถึงไป นั่นคือการอยู่รอดที่ไม่ได้เกิดขึ้นเพียงเพราะความแข็งแกร่งหรือความบริสุทธิ์ แต่ด้วยการพึ่งพิงที่มีการปรับตัว ถึงแม้ว่าการร่วมมือที่ทำให้ยังอยู่รอดได้ จะต้องเกิดขึ้นผ่านการร่วมมือกับการเข้าสู่ตลาดเพื่อกำไรและการลบล้างก็ตาม",[],{},{"nodeType":143,"data":18765,"content":18766},{},[18767],{"nodeType":147,"value":219,"marks":18768,"data":18769},[],{},{"nodeType":6423,"data":18771,"content":18772},{},[18773],{"nodeType":147,"value":18774,"marks":18775,"data":18776},"16  ประเทศไทยบังคับใช้พระราชบัญญัติปรามการค้าประเวณีในปี 1960 แต่เจ็ดปีต่อมาก็เซ็นสัญญากับสหรัฐอเมริกาให้ประเทศไทยเป็นจุดหมายในการพักผ่อนหย่อนใจ (Rest and Recreation, R&R) ไทยจึงกลายเป็นจุดหมายของทหารจีไอชาวอเมริกันที่มารบในสงครามเวียดนาม",[],{},{"nodeType":143,"data":18778,"content":18779},{},[18780],{"nodeType":147,"value":219,"marks":18781,"data":18782},[],{},{"nodeType":6423,"data":18784,"content":18785},{},[18786],{"nodeType":147,"value":18787,"marks":18788,"data":18789},"17  โรงเรียนสอนนวดปรับตัวด้วยการเริ่มสอนวิชาทางทฤษฎีและมีหลักสูตรตามมาตรฐาน ฮาราลด์ บรัสท์ (Harald Brust) ชาวเยอรมันที่เรียกตัวเองว่า “อโศกอนันต์” ได้แสดงให้เห็นถึงจุดเปลี่ยนดังกล่าวผ่านคู่มือภาษาอังกฤษว่าด้วยการนวดแผนไทย “ศิลปะการนวดแผนไทยแบบดั้งเดิม” (The Art of Traditional Thai Massage, 1990)",[],{},{"nodeType":143,"data":18791,"content":18792},{},[18793],{"nodeType":147,"value":219,"marks":18794,"data":18795},[],{},{"nodeType":6423,"data":18797,"content":18798},{},[18799],{"nodeType":147,"value":18800,"marks":18801,"data":18802},"18  ปัจจุบันกระทรวงการแพทย์สาธารณสุขเป็นหน่วยงานที่ดูแลเรื่องการนวดแผนไทย เนื่องจากเป็นหน่วยงานที่เต็มไปด้วยใบรับรองอย่างเป็นทางการ การศึกษาทางการแพทย์และการการรับรองจาก UNESCO (ในปี 2019) ฉากหลังของภาพที่สะอาดสะอ้านนี้ก็คือโครงการชาตินิยมที่ลอยเหนือความเป็นจริงภาคพื้นสนาม ชาวต่างชาติถูกกีดกันไม่ให้ทำงานเป็นหมอนวด ถึงแม้ว่าอุตสาหกรรมนี้จะพึ่งพาแรงงานต่างด้าวอย่างมาก ไม่ว่าจะเป็นแรงงานจากลาว กัมพูชา พม่าและเวียดนาม ในพื้นที่กรุงเทพที่มีร้านนวดกว่า 15,000 แห่ง คาดว่ามีแรงงานอพยพกว่า 50,000 คนที่เข้ามาทำงานเป็นหมอนวด และมีเพียงหนึ่งในสี่ของร้านนวดที่ได้รับใบรับรองทางกฎหมาย",[],{},{"nodeType":143,"data":18804,"content":18805},{},[18806],{"nodeType":147,"value":219,"marks":18807,"data":18808},[],{},{"nodeType":6423,"data":18810,"content":18811},{},[18812,18816,18823],{"nodeType":147,"value":18813,"marks":18814,"data":18815},"19  ดูเหมือนว่าทั้งสาวอินฟลูฯ ท่านนั้นหรือบรรณาธิการของเธอจะไม่รู้เลยว่าภาษาที่ใช้ในศาสนาพุทธนิกายเถรวาทจริงๆ แล้วคือภาษา “บาลี” (ไม่ใช่บาหลี แบบเมืองบาหลีในประเทศอินโดนีเซีย) ความหลุดนี้แสดงให้เห็นถึงเส้นขอบชายแดนของปรากฏการณ์เพื่อสุขภาพนานาชาติที่มีแต่ความผิวเผิน ",[],{},{"nodeType":865,"data":18817,"content":18819},{"uri":18818},"https:\u002F\u002Fwww.voguehk.com\u002Fen\u002Farticle\u002Fvogue-circle\u002Folivia-buckingham-rakxa-integrative-wellness\u002F",[18820],{"nodeType":147,"value":18818,"marks":18821,"data":18822},[],{},{"nodeType":147,"value":219,"marks":18824,"data":18825},[],{},{"nodeType":143,"data":18827,"content":18828},{},[18829],{"nodeType":147,"value":219,"marks":18830,"data":18831},[],{},{"nodeType":6423,"data":18833,"content":18834},{},[18835],{"nodeType":147,"value":18836,"marks":18837,"data":18838},"20  ชื่อ COSMOSS เป็นการเล่นคำระหว่างคำว่า cosmos ที่หมายถึงจักรวาล แต่เมื่อเติม s (ให้กลายเป็น cosmoss) เข้าไปอีกตัวหนึ่งก็จะคล้ายกับนามสกุลของนางแบบชื่อดังเคท มอส (Kate Moss)",[],{},{"nodeType":143,"data":18840,"content":18841},{},[18842],{"nodeType":147,"value":219,"marks":18843,"data":18844},[],{},{"nodeType":6423,"data":18846,"content":18847},{},[18848,18852,18860],{"nodeType":147,"value":18849,"marks":18850,"data":18851},"21  ",[],{},{"nodeType":865,"data":18853,"content":18854},{"uri":18818},[18855],{"nodeType":147,"value":18818,"marks":18856,"data":18859},[18857],{"type":18858},"underline",{},{"nodeType":147,"value":219,"marks":18861,"data":18862},[],{},{"nodeType":143,"data":18864,"content":18865},{},[18866],{"nodeType":147,"value":219,"marks":18867,"data":18868},[],{},{"nodeType":6423,"data":18870,"content":18871},{},[18872,18876,18883],{"nodeType":147,"value":18873,"marks":18874,"data":18875},"22 ",[],{},{"nodeType":865,"data":18877,"content":18879},{"uri":18878},"https:\u002F\u002Fwww.standard.co.uk\u002Flifestyle\u002Ftravel\u002Fdeepak-chopra-thailand-retreat-longevity-review-kate-moss-b1151725.html",[18880],{"nodeType":147,"value":18878,"marks":18881,"data":18882},[],{},{"nodeType":147,"value":219,"marks":18884,"data":18885},[],{},{"nodeType":143,"data":18887,"content":18888},{},[18889],{"nodeType":147,"value":219,"marks":18890,"data":18891},[],{},{"nodeType":6423,"data":18893,"content":18894},{},[18895],{"nodeType":147,"value":18896,"marks":18897,"data":18898},"23  ตระกูลพัฒน์พงษ์พานิชพัฒนาย่านพัฒน์พงษ์ขึ้นในช่วงทศวรรษที่ 1960 ที่เป็นที่ตั้งของสำนักงานของ OSS (ก่อนจะกลายเป็น CIA ในปัจจุบัน) และเหล่าบาร์อะโกโก้แห่งแรก การประจวบที่เกิดขึ้นจากโครงสร้างทางราชการลับช่วงสงครามเย็นและเศรษฐกิจการค้าประเวณีในกรุงเทพฯ",[],{},{"nodeType":143,"data":18900,"content":18901},{},[18902],{"nodeType":147,"value":219,"marks":18903,"data":18904},[],{},{"nodeType":6423,"data":18906,"content":18907},{},[18908,18912,18917,18920,18925,18929,18934,18937,18942],{"nodeType":147,"value":18909,"marks":18910,"data":18911},"24  นักมานุษยวิทยาได้วิพากษ์วัตถุภาวะของระบบราชการมานาน แมทธิว ฮัล (Matthew Hull) เขียนไว้ในหนังสือ ",[],{},{"nodeType":147,"value":18913,"marks":18914,"data":18916},"รัฐบาลแห่งกระดาษ",[18915],{"type":808},{},{"nodeType":147,"value":18579,"marks":18918,"data":18919},[],{},{"nodeType":147,"value":18921,"marks":18922,"data":18924},"Government of Paper, ",[18923],{"type":808},{},{"nodeType":147,"value":18926,"marks":18927,"data":18928},"2012) ถึงปรากฏการณ์ที่เอกสารไม่เพียงแต่ถูกใช้เพื่อบันทึกความเป็นจริง แต่ยังกลายเป็นส่วนหนึ่งในการผลิตความเป็นจริงด้วย ต่อมาเดวิด เกรเบอร์ (David Graeber) ในหนังสือ ",[],{},{"nodeType":147,"value":18930,"marks":18931,"data":18933},"โลกในอุดมคติแห่งกฎเกณฑ์ ",[18932],{"type":808},{},{"nodeType":147,"value":18124,"marks":18935,"data":18936},[],{},{"nodeType":147,"value":18938,"marks":18939,"data":18941},"The Utopia of Rules, ",[18940],{"type":808},{},{"nodeType":147,"value":18943,"marks":18944,"data":18945},"2015) เน้นถึงหน้าที่ของงานเอกสารทั้งในฐานะพิธีกรรมและความรุนแรง",[],{},{"nodeType":143,"data":18947,"content":18948},{},[18949],{"nodeType":147,"value":219,"marks":18950,"data":18951},[],{},{"nodeType":6423,"data":18953,"content":18954},{},[18955],{"nodeType":147,"value":18956,"marks":18957,"data":18958},"25  ฉันคิดว่าเป็นเรื่องสำคัญที่ต้องบันทึกไว้ว่าฉันไม่ได้ต้องจ่ายค่าใช้จ่ายเพิ่มเติมสำหรับการรักษาในส่วนนี้\n",[],{},{"nodeType":143,"data":18960,"content":18961},{},[18962],{"nodeType":147,"value":219,"marks":18963,"data":18964},[],{},{"metadata":18966,"sys":18969,"fields":18974},{"tags":18967,"concepts":18968},[],[],{"space":18970,"id":15662,"type":212,"createdAt":15663,"updatedAt":15664,"environment":18972,"publishedVersion":25,"revision":51,"locale":31},{"sys":18971},{"type":14,"linkType":15,"id":16},{"sys":18973},{"id":23,"type":14,"linkType":24},{"title":15668,"description":15669,"file":18975},{"url":15671,"details":18976,"fileName":15677,"contentType":228},{"size":15673,"image":18977},{"width":15675,"height":15676},"yes",{"metadata":18980,"sys":18983,"fields":18993},{"tags":18981,"concepts":18982},[],[],{"space":18984,"id":18986,"type":18,"createdAt":18987,"updatedAt":18988,"environment":18989,"publishedVersion":901,"revision":91,"contentType":18991,"locale":31},{"sys":18985},{"type":14,"linkType":15,"id":16},"1weKN6kb0YwUmGnIJZ6R8l","2025-11-06T22:33:47.031Z","2026-01-28T10:33:30.768Z",{"sys":18990},{"id":23,"type":14,"linkType":24},{"sys":18992},{"type":14,"linkType":29,"id":3211},{"name":18994,"slug":18995,"issue":3215,"title":18994,"author":18996,"locationName":18997,"hero":18998,"sections":19055,"thumbnailImage":20384},"Wukong: Chaos and Myth","wukong-chaos-and-myth","Nin Chan","World",{"metadata":18999,"sys":19002,"fields":19012},{"tags":19000,"concepts":19001},[],[],{"space":19003,"id":19005,"type":18,"createdAt":19006,"updatedAt":19007,"environment":19008,"publishedVersion":25,"revision":1123,"contentType":19010,"locale":31},{"sys":19004},{"type":14,"linkType":15,"id":16},"twKtyZpJJGbr0XRN6KRbJ","2026-01-26T10:14:55.596Z","2026-01-26T10:17:20.565Z",{"sys":19009},{"id":23,"type":14,"linkType":24},{"sys":19011},{"type":14,"linkType":29,"id":3231},{"name":19013,"title":18994,"imageOption":3499,"imagesDisplay":19014,"imageRatio":5755,"image":19015,"imageSecond":19036},"Wukong",[3545,6774,5753],{"metadata":19016,"sys":19019,"fields":19027},{"tags":19017,"concepts":19018},[],[],{"space":19020,"id":19022,"type":212,"createdAt":19023,"updatedAt":19024,"environment":19025,"publishedVersion":51,"revision":1123,"locale":31},{"sys":19021},{"type":14,"linkType":15,"id":16},"6s41Y0szuKxjTQ85uZ4JYn","2026-01-26T10:13:00.158Z","2026-01-26T10:16:55.340Z",{"sys":19026},{"id":23,"type":14,"linkType":24},{"title":19028,"description":19029,"file":19030},"images-157","Screenshot from Black Myth: Wukong. Courtesy of the writer",{"url":19031,"details":19032,"fileName":19035,"contentType":228},"\u002F\u002Fimages.ctfassets.net\u002F2urh0izv0sep\u002F6s41Y0szuKxjTQ85uZ4JYn\u002F82aa18f4368d02d1d12b91b0a25e9945\u002Fimages-157.png",{"size":19033,"image":19034},14167140,{"width":4326,"height":4327},"images-157.png",{"metadata":19037,"sys":19040,"fields":19047},{"tags":19038,"concepts":19039},[],[],{"space":19041,"id":19043,"type":212,"createdAt":19044,"updatedAt":19044,"environment":19045,"publishedVersion":91,"revision":216,"locale":31},{"sys":19042},{"type":14,"linkType":15,"id":16},"hlSzenmz29ptgia028txc","2026-01-26T10:14:37.268Z",{"sys":19046},{"id":23,"type":14,"linkType":24},{"title":19048,"file":19049},"page-066-right",{"url":19050,"details":19051,"fileName":19054,"contentType":228},"\u002F\u002Fimages.ctfassets.net\u002F2urh0izv0sep\u002FhlSzenmz29ptgia028txc\u002F7ccd5ec3fa5431eed56cdc624e2ec789\u002Fpage-066-right.png",{"size":19052,"image":19053},154406,{"width":15696,"height":5788},"page-066-right.png",[19056],{"metadata":19057,"sys":19060,"fields":19072},{"tags":19058,"concepts":19059},[],[],{"space":19061,"id":19063,"type":18,"createdAt":19064,"updatedAt":19065,"environment":19066,"publishedVersion":19068,"revision":19069,"contentType":19070,"locale":31},{"sys":19062},{"type":14,"linkType":15,"id":16},"3nGYZsTIae6anCcF8rUy0R","2026-01-26T11:05:29.784Z","2026-01-28T10:33:11.884Z",{"sys":19067},{"id":23,"type":14,"linkType":24},227,43,{"sys":19071},{"type":14,"linkType":29,"id":3271},{"title":19073,"text":19074,"assetsOptions":20382,"textOptions":20383},"Wukong: main article",{"nodeType":139,"data":19075,"content":19076},{},[19077,19089,19095,19102,19113,19125,19141,19156,19171,19215,19222,19229,19253,19297,19313,19320,19326,19342,19373,19380,19387,19394,19401,19417,19464,19487,19502,19546,19553,19560,19583,19615,19647,19654,19661,19668,19711,19727,19738,19781,19788,19795,19841,19869,19876,19883,19890,19897,19904,19911,19918,19925,19932,19962,19969,19976,19992,20015,20048,20055,20061,20067,20070,20085,20091,20107,20113,20139,20145,20160,20166,20173,20179,20186,20192,20199,20205,20212,20218,20225,20231,20264,20270,20303,20309,20316,20322,20329,20335,20342,20348,20363,20369,20376],{"nodeType":5812,"data":19078,"content":19079},{},[19080,19085],{"nodeType":147,"value":19081,"marks":19082,"data":19084},"Black Myth: Wukong",[19083],{"type":808},{},{"nodeType":147,"value":19086,"marks":19087,"data":19088},", the first big-budget single-player video game produced by a Chinese studio, has been a major event in many respects. Developed by Game Science and released in August 2024, the game sold more than ten million copies within its first three days and twice that by the end of the month. Arriving after the thaw of a two-decade-long ban on video consoles, it carried the full freight of national and diasporic expectation. For some, it signified the long-awaited coming of age of Chinese game development; for others, a soft-power salvo in the theatre of global cultural competition. Unsurprisingly, the stakes that the game is made to bear make careful discussion of its politics – and of the political uses of myth as such – difficult. This essay steers away from facile dismissals of the game as mere nationalist kitsch, focusing instead on what in it remains inassimilable: the irreducibly queer, chaotic figure of Wukong, harbinger of a community that cannot be domesticated, circumscribed, or codified in national terms. ",[],{},{"nodeType":143,"data":19090,"content":19091},{},[19092],{"nodeType":147,"value":219,"marks":19093,"data":19094},[],{},{"nodeType":5812,"data":19096,"content":19097},{},[19098],{"nodeType":147,"value":19099,"marks":19100,"data":19101},"1 \nOrder of Time: Wukong the Undead or Wukong the Undying: Two Faces of Nostalgia ",[],{},{"nodeType":143,"data":19103,"content":19104},{},[19105,19109],{"nodeType":147,"value":19106,"marks":19107,"data":19108},"‘Nostalgia is experienced when one fondly aches for the past. Foreverism, on the other hand, will implore you to revive the past and save it from ever dying again in order to maintain capitalism in the perpetual present, with its promise of now forever. Nothing haunts this eternal instant, no ghosts rattle their chains. To exist in a foreverised void is to never die, to produce and compete under watchful eyes, drifting through an infinite universe where conversations never end, wondering if spring will ever come.’ \n– Grafton Tanner",[],{},{"nodeType":147,"value":5866,"marks":19110,"data":19112},[19111],{"type":5869},{},{"nodeType":143,"data":19114,"content":19115},{},[19116,19120],{"nodeType":147,"value":19117,"marks":19118,"data":19119},"‘Novalis’ definition, according to which all philosophy is homesickness, holds true only if this longing is not dissolved into the phantasm of a lost remote antiquity, but represents the homeland, nature itself, as wrested from myth. Homeland is the state of having escaped.’ \n– Adorno & Horkheimer",[],{},{"nodeType":147,"value":19121,"marks":19122,"data":19124},"2 ",[19123],{"type":5869},{},{"nodeType":143,"data":19126,"content":19127},{},[19128,19132,19137],{"nodeType":147,"value":19129,"marks":19130,"data":19131},"We now live in a post-historical age where past and future collapse into a sterile morass of codified information – so argues Grafton Tanner in ",[],{},{"nodeType":147,"value":19133,"marks":19134,"data":19136},"Foreverism",[19135],{"type":808},{},{"nodeType":147,"value":19138,"marks":19139,"data":19140},", his excellent meditation on nostalgia in the information age. With history now instantly formatted and available for consumption, and amidst the upheavals of the climate emergency, pandemics, displacement, and economic crises, nostalgia invariably emerges as a symptom: a fantasmatic projection that makes an increasingly inhospitable present bearable through a homesickness for the past. In this way, nostalgia can also be read as a protest against the present, a plea for rest and refuge as everything solid melts into air. Weaponised by recrudescent fascisms and commodified by a culture industry that cannibalises on the past, nostalgia closes the openings from the present, replacing memory with a fabricated image fully compatible with the systematic imperatives of the present. ",[],{},{"nodeType":143,"data":19142,"content":19143},{},[19144,19148,19152],{"nodeType":147,"value":19145,"marks":19146,"data":19147},"Certainly, all the brouhaha around China’s premier big-budget video game production, ",[],{},{"nodeType":147,"value":19081,"marks":19149,"data":19151},[19150],{"type":808},{},{"nodeType":147,"value":19153,"marks":19154,"data":19155},", would have one believe that it can be construed, even dismissed, as another hackneyed invocation of an imagined past, harnessed for commercial gain and nationalist fantasy. From a certain vantage point, the game can be construed as exactly this. By virtue of the fact that this is China’s first big foray into the most profitable sector in the global media landscape, it necessarily has to assume the mantle of such aspirations in staking a claim to territory in an increasingly saturated environment. ",[],{},{"nodeType":143,"data":19157,"content":19158},{},[19159,19163,19167],{"nodeType":147,"value":19160,"marks":19161,"data":19162},"Amidst the sheer magnitude of national and diasporic expectation upon the release and reception of a game imagined as an opening salvo against generations of American and Japanese video-game hegemony, discussions over the merits or demerits of ",[],{},{"nodeType":147,"value":19081,"marks":19164,"data":19166},[19165],{"type":808},{},{"nodeType":147,"value":19168,"marks":19169,"data":19170}," appear to be of secondary significance. Instead, the game is situated squarely in a host of intersecting polemics around the geopolitics of empire, trade, and market share, the ominous shadow of soft power, and the red scare of gaming as propaganda, the liberties or lack thereof afforded to Chinese developers under the supervision of a state anxious to commandeer a burgeoning gaming industry to the benefit of advancing ‘cultural confidence’ worldwide, as well as the caustic (and often tiresome) minefield of the culture wars in the West. ",[],{},{"nodeType":5945,"data":19172,"content":19214},{"target":19173},{"metadata":19174,"sys":19177,"fields":19187},{"tags":19175,"concepts":19176},[],[],{"space":19178,"id":19180,"type":18,"createdAt":19181,"updatedAt":19182,"environment":19183,"publishedVersion":26,"revision":1123,"contentType":19185,"locale":31},{"sys":19179},{"type":14,"linkType":15,"id":16},"26ch5UmV7c07sXDHbGgIOG","2026-01-26T10:19:35.153Z","2026-01-26T11:54:33.467Z",{"sys":19184},{"id":23,"type":14,"linkType":24},{"sys":19186},{"type":14,"linkType":29,"id":5961},{"name":19188,"images":19189,"visibility":5987,"galleryFormat":5988,"gallerySize":5989,"gridColumns":5866,"gridSpacing":5990,"scrollImageSize":5989,"imageOptions":19213},"Wukong gallery 1",[19190],{"metadata":19191,"sys":19194,"fields":19202},{"tags":19192,"concepts":19193},[],[],{"space":19195,"id":19197,"type":212,"createdAt":19198,"updatedAt":19199,"environment":19200,"publishedVersion":90,"revision":91,"locale":31},{"sys":19196},{"type":14,"linkType":15,"id":16},"5fnGc0NLI32ccURNxkRcxi","2026-01-26T10:13:00.176Z","2026-01-26T10:24:05.790Z",{"sys":19201},{"id":23,"type":14,"linkType":24},{"title":19203,"description":19204,"file":19205},"wukong-images-158","Screenshot from _Black Myth: Wukong_. Courtesy of the writer.",{"url":19206,"details":19207,"fileName":19212,"contentType":228},"\u002F\u002Fimages.ctfassets.net\u002F2urh0izv0sep\u002F5fnGc0NLI32ccURNxkRcxi\u002F28b6eefb220d129c7a5f65db1872dfc9\u002Fimages-158.png",{"size":19208,"image":19209},4540705,{"width":19210,"height":19211},2879,1599,"images-158.png",[4640],[],{"nodeType":143,"data":19216,"content":19217},{},[19218],{"nodeType":147,"value":19219,"marks":19220,"data":19221},"The compacted weight of all of these implications is felt upon even a cursory scan of the game reviews in mainstream gaming outlets. While this has often been at the expense of a temperate assessment of the game on its own terms, the unprecedented publicity it has granted to the game has been extremely welcome to a team of developers who have navigated the turbulent currents of public opinion with considerable guile. Like Wukong, the phantasmal, shapeshifting protagonist at the heart of the game, the game (as a fetish object) is allowed to be anything for anyone. Paradoxically, the intrinsic polyvalence of the Monkey King as a sign means that it can be appropriated and cited for interests and enterprises which are entirely at odds with one another, for orthodoxies and heterodoxies of various stripes. And yet, there is an errant, restless remainder that cannot be appropriated or codified, and it is this very aspect of the Monkey King that ‘we’ continue to be fascinated by – ‘we’, the progeny of the Monkey King, reared generation upon generation on stories of his impudent exploits. ",[],{},{"nodeType":143,"data":19223,"content":19224},{},[19225],{"nodeType":147,"value":19226,"marks":19227,"data":19228},"This essay, therefore, while offering a brief survey of debates surrounding the game, focuses on the ‘mythological’ itself – as a genre and as a temporality different from the historical – which escapes the rabbit hole of the discursive and evades capture by the foreverising algorithm, by introducing a fugitive and insurgent ‘ghost in the machine’ that cannot be subject to any national or political project. It is significant that the ambivalent figure of Wukong, the god of chaos incarnate subdued by the precarious fiat of the Buddha, can be read as an allusion to any state laying claim to sovereignty in an originary revolt and the primal will of the people born from revolt; while the invocation of that chaos will always enrapture the popular imagination, it also mobilises an excess that cannot be easily contained. This essay is about this excess and its mercurial, anti-economic effects, and how this curious commodity engenders inchoate forces that cannot themselves be commodified. That is, while the choice of building a landmark game around the most recognisable, notorious figure in Chinese mythology seems patently obvious, the inexorable, fatal allure of Wukong undermines this obviousness and transports us to a place that is much more nebulous. ",[],{},{"nodeType":143,"data":19230,"content":19231},{},[19232,19236,19240,19244,19249],{"nodeType":147,"value":19233,"marks":19234,"data":19235},"Wukong, the Monkey King, has always been an avatar of eternal insubordination and anarchy, the coruscating flame of insurrection – even invoked by Mao in a series of versifications",[],{},{"nodeType":147,"value":6039,"marks":19237,"data":19239},[19238],{"type":5869},{},{"nodeType":147,"value":19241,"marks":19242,"data":19243}," (Wukong being the poetic sign that cannot be flattened into the linearity of the prosaic). Wukong’s very nature resists domestication: the repeated insistence upon the eternal correctness of revolt precisely renders the subjection of the Monkey King to the dictates of the market and nationhood impossible. It is the refusal of the past to be neatly subsumed into the present, the persistence of an untimely force that disrupts, distorts, and undermines any economy of historical representation. That the protagonist of this game is literally the embodiment of this disruptive force – undermining the painstakingly ordered ",[],{},{"nodeType":147,"value":19245,"marks":19246,"data":19248},"domos",[19247],{"type":808},{},{"nodeType":147,"value":19250,"marks":19251,"data":19252}," and cosmogony of Chinese folklore – means that any sort of fidelity to the figure of Wukong on the developer Game Science’s part would open the game to a futurity that confounds representation and explodes the framework of the game altogether. ",[],{},{"nodeType":5945,"data":19254,"content":19296},{"target":19255},{"metadata":19256,"sys":19259,"fields":19269},{"tags":19257,"concepts":19258},[],[],{"space":19260,"id":19262,"type":18,"createdAt":19263,"updatedAt":19264,"environment":19265,"publishedVersion":26,"revision":1123,"contentType":19267,"locale":31},{"sys":19261},{"type":14,"linkType":15,"id":16},"6ubV1z8fsRqQSeSHHZOMlC","2026-01-26T10:24:50.423Z","2026-01-26T11:54:44.270Z",{"sys":19266},{"id":23,"type":14,"linkType":24},{"sys":19268},{"type":14,"linkType":29,"id":5961},{"name":19270,"images":19271,"visibility":5987,"galleryFormat":5988,"gallerySize":5989,"gridColumns":5866,"gridSpacing":5990,"scrollImageSize":5989,"imageOptions":19295},"Wukong gallery 2",[19272],{"metadata":19273,"sys":19276,"fields":19284},{"tags":19274,"concepts":19275},[],[],{"space":19277,"id":19279,"type":212,"createdAt":19280,"updatedAt":19281,"environment":19282,"publishedVersion":51,"revision":1123,"locale":31},{"sys":19278},{"type":14,"linkType":15,"id":16},"2hW730efJQdGpjzx0hYmWZ","2026-01-26T10:13:00.172Z","2026-01-26T10:24:46.754Z",{"sys":19283},{"id":23,"type":14,"linkType":24},{"title":19285,"description":19286,"file":19287},"images-160","_Black Myth: Wukong_. Courtesy of the writer.",{"url":19288,"details":19289,"fileName":19294,"contentType":228},"\u002F\u002Fimages.ctfassets.net\u002F2urh0izv0sep\u002F2hW730efJQdGpjzx0hYmWZ\u002F67db9dfd006abfe45b75d6df8e987e72\u002Fimages-160.png",{"size":19290,"image":19291},4332038,{"width":19292,"height":19293},3044,1604,"images-160.png",[4640],[],{"nodeType":143,"data":19298,"content":19299},{},[19300,19304,19309],{"nodeType":147,"value":19301,"marks":19302,"data":19303},"Over the course of the game, Wukong undergoes a metamorphosis: from a fully manipulable character at the mercy of the player’s whims, into a (re)awakened god of vengeance, the memory of nature’s suffering incarnate. The confines of what is otherwise an entirely unremarkable game are placed in parentheses, and the game calls the limits of its own mediality into question. It gestures towards the ‘homeland’ of which Adorno and Horkheimer speak – the ",[],{},{"nodeType":147,"value":19305,"marks":19306,"data":19308},"terra incognita",[19307],{"type":808},{},{"nodeType":147,"value":19310,"marks":19311,"data":19312}," situated beyond the siren’s song of fantasy, where the historicity of human action is given form. Wukong here becomes the futurity of an ancestral mythological past, unfettered, making war against the myth of the supposed fixity of the present. In doing so, he opens a path beyond the inertia of the game’s staid gameplay towards a virtual space that defies existing categories and coordinates. ",[],{},{"nodeType":143,"data":19314,"content":19315},{},[19316],{"nodeType":147,"value":19317,"marks":19318,"data":19319},"The text traces how the game’s invocation of the Monkey King repeatedly brings to light a rogue, transversal element that sabotages the fixity of time, language, law, value and form, bringing each of these orders to ruin and opening a space that lies beyond their reach. ",[],{},{"nodeType":143,"data":19321,"content":19322},{},[19323],{"nodeType":147,"value":219,"marks":19324,"data":19325},[],{},{"nodeType":5812,"data":19327,"content":19328},{},[19329,19333,19338],{"nodeType":147,"value":19330,"marks":19331,"data":19332},"2 \nOrder of Language: Wukong, Sign without Signification (Introductory Preamble on ",[],{},{"nodeType":147,"value":19334,"marks":19335,"data":19337},"Journey to the West",[19336],{"type":808},{},{"nodeType":147,"value":19339,"marks":19340,"data":19341},") ",[],{},{"nodeType":143,"data":19343,"content":19344},{},[19345,19349,19353,19356,19360,19364,19369],{"nodeType":147,"value":19346,"marks":19347,"data":19348},"At the conclusion of the classic novel ",[],{},{"nodeType":147,"value":19334,"marks":19350,"data":19352},[19351],{"type":808},{},{"nodeType":147,"value":8780,"marks":19354,"data":19355},[],{},{"nodeType":147,"value":6183,"marks":19357,"data":19359},[19358],{"type":5869},{},{"nodeType":147,"value":19361,"marks":19362,"data":19363}," Sun Wukong, an irreverent monkey god – who shortly after having been born from a rock in Huaguo Mountain, attempted to launch a one-man insurrection against the heavenly hierarchy in an effort to forcibly enthrone himself at the very apex of creation – prostrates himself before the supreme authority of the Tathagatha Buddha. He humbly accepts the mantle of the Victorious Fighting Buddha upon fulfilling his pilgrimage to obtain scriptures from the Western lands. In what amounts to an Eastern equivalent of ",[],{},{"nodeType":147,"value":19365,"marks":19366,"data":19368},"The Pilgrim’s Progress",[19367],{"type":808},{},{"nodeType":147,"value":19370,"marks":19371,"data":19372}," meets a proto-bildungsroman, the entire epic revolves around the teleological travails of Wukong the Monkey God: from a birth that appears entirely fortuitous (the rock which gave birth to the monkey god was produced from a chance admixture of celestial energy, yin, that descends from heaven, and chthonic dark energy, yang, emerging from the earth, giving shape to a mineralised womb charged with explosive deific force) to his insurgency against the heavenly court for its refusal to recognise his claim (and the claim of his monkey brethren writ large), to canonisation as recognised immortals, concluding with his progressive indoctrination into the workings of Buddhist theology, defeating demonic avatars of hubristic desire, and the apotheosis of his alchemical quest, the consummate dissolution of the will and initiation into the eightfold path of the Buddha. ",[],{},{"nodeType":143,"data":19374,"content":19375},{},[19376],{"nodeType":147,"value":19377,"marks":19378,"data":19379},"Spiritual surrender, tortuously won from a series of trials that serve as signposts in Wukong’s alchemical ascension, earns the very thing that he had attempted to wrest by force at the outset, the glory of official recognition in the immortal register ( 仙籙 ) and certified renown across the cosmos. However, with the extinguishing of the ego, the enjoyment that would entail deification also vanishes because the title does not bestow anything substantive upon its bearer. ",[],{},{"nodeType":143,"data":19381,"content":19382},{},[19383],{"nodeType":147,"value":19384,"marks":19385,"data":19386},"As anyone with a passing acquaintance with Buddhist practice knows, one cannot reach Buddhahood through willed aspiration or intention, for the Buddha nature, while ubiquitous throughout creation, is no-thing that the mind can fathom or conceptualise. Once one attains the Buddha nature, the title of Buddhahood itself is a sign that signifies nothing, a terminal non-concept that indicates the inconsequentiality of language. Yet despite the revelation of the esoteric truth of nothingness and an-arché at the heart of heavenly authority, the bureaucratic nature of the heavenly government and the force of its despotic law is not suspended on an ontic level; for however hollow such a title might ring on a metaphysical level, it is only through its authority that Wukong is granted a stay of execution – an imperial reprieve from being deemed a threat to public order. The glory of its light is what bestows being upon Wukong, giving him full actuality and legitimate claim to divinely sanctioned right and personhood. ",[],{},{"nodeType":143,"data":19388,"content":19389},{},[19390],{"nodeType":147,"value":19391,"marks":19392,"data":19393},"Wukong, like Odysseus, is an errant sign in desperate search of its place in the significative, onto-theological architecture of the novel (here, it is significant to note that Wukong’s famous cudgel was a foundational pillar literally torn from the architecture of the Dragon King’s place, upsetting the equilibrium of the Four Seas). The title is the sublimation and transfiguration of this itinerant sign into a transparent bearer of sanctified\u002Fsalvific meaning. Buddhist theology and imperial bureaucracy coincide to create a governmental machine that operates through the pure angelic language of command, a language evacuated of substantive meaning but charged with the full force of the law to administer and dispose, to grant or revoke being. This is what makes such a language both empty and full at once, its fulsome grandiloquence being exactly proportional to its vacuity, a language of the acclamation of glory and pure force. ",[],{},{"nodeType":143,"data":19395,"content":19396},{},[19397],{"nodeType":147,"value":19398,"marks":19399,"data":19400},"The political stakes of the entire novel revolve around this mechanism of nomination and a contestation over its constitutional power. Before he takes the name of ‘Wukong’ from his master, the monkey king dares to call himself ‘The Great Sage Equaling Heaven’ ( 齊天大聖 ), becoming an immortal by erasing his name and those of his band of monkeys from the lists of the mortal in the Underworld. Hearing that the palaces in the oceans contain armaments fit for a god, he storms the Dragon King’s manor – before the imperial heavenly court, recognising him as a legitimate threat, dispatches courtiers to subdue him by bestowing an empty title upon him, ‘Keeper of the Heavenly Horses’, a euphemism for celestial stable boy. ",[],{},{"nodeType":143,"data":19402,"content":19403},{},[19404,19408,19413],{"nodeType":147,"value":19405,"marks":19406,"data":19407},"Initially placated, the monkey unleashes his wrath upon the gods upon discovery of the effective nullity of his accolade, defeating each of them in turn prior to meeting his match in Erlang-Shen, the three-eyed warrior god, before being ambushed and imprisoned in Laozi’s hexagram crucible. It is this revolt that would later be immortalised in a propagandistic foreshadowing of the Cultural Revolution, the classic 1961 Maoist animated film ",[],{},{"nodeType":147,"value":19409,"marks":19410,"data":19412},"Uproar In Heaven",[19411],{"type":808},{},{"nodeType":147,"value":19414,"marks":19415,"data":19416}," ( 大鬧天宮 ). Tried before the Buddha, the monkey is tricked and imprisoned once more in a rock at the foot of a mountain. ",[],{},{"nodeType":143,"data":19418,"content":19419},{},[19420,19424,19429,19432,19436,19440,19444,19448,19453,19456,19460],{"nodeType":147,"value":19421,"marks":19422,"data":19423},"Five hundred years after these events – so the story goes – the monkey offers to serve Tang Sanzang ( 唐三藏 ) on his pilgrimage to the West in exchange for his freedom. The bodhisattva Guanyin gives the monk a magical golden fillet to be placed on the monkey’s brow, which would constrict whenever the monk recites a mantra. It is here that the monkey is given a name that marks his initiation on the path of penitence, ‘Wukong’ ( 悟空 ), or ‘gnosis of emptiness’ . In this way, this cosmic accident is retroactively given a destiny and a destination: the defiant monkey bearing this name will become ",[],{},{"nodeType":147,"value":19425,"marks":19426,"data":19428},"gnosis in corpore",[19427],{"type":808},{},{"nodeType":147,"value":8780,"marks":19430,"data":19431},[],{},{"nodeType":147,"value":6208,"marks":19433,"data":19435},[19434],{"type":5869},{},{"nodeType":147,"value":19437,"marks":19438,"data":19439}," the recalcitrant flesh will be transubstantiated upon arrival at where he was always meant to be.",[],{},{"nodeType":147,"value":6240,"marks":19441,"data":19443},[19442],{"type":5869},{},{"nodeType":147,"value":19445,"marks":19446,"data":19447}," At the conclusion of the novel, having been baptised by the Buddha, Wukong affirms his inauguration into the celestial court and the authority it grants to his speech by consolidating it with a pact, swearing blood brotherhood with the very god that subdued him, Erlang-Shen. By this very act, Wukong performs a sort of ",[],{},{"nodeType":147,"value":19449,"marks":19450,"data":19452},"amor fati",[19451],{"type":808},{},{"nodeType":147,"value":8780,"marks":19454,"data":19455},[],{},{"nodeType":147,"value":6306,"marks":19457,"data":19459},[19458],{"type":5869},{},{"nodeType":147,"value":19461,"marks":19462,"data":19463}," a voluntarist authorisation of the enclosure of his career into a redemptive, predestined narrative arc. ",[],{},{"nodeType":143,"data":19465,"content":19466},{},[19467,19471,19475,19479,19483],{"nodeType":147,"value":19468,"marks":19469,"data":19470},"It is no accident, then, that the very first cut scene that opens ",[],{},{"nodeType":147,"value":19081,"marks":19472,"data":19474},[19473],{"type":808},{},{"nodeType":147,"value":19476,"marks":19477,"data":19478},", the first AAA game",[],{},{"nodeType":147,"value":6315,"marks":19480,"data":19482},[19481],{"type":5869},{},{"nodeType":147,"value":19484,"marks":19485,"data":19486}," from a burgeoning Chinese game industry, involves Wukong desecrating this oath and repeating his mutiny on the celestial court once more. The first instance of actual gameplay is in taking control of Wukong himself in a fight to the death with Erlang-Shen, a fight one will invariably lose, resulting in Wukong being cast down once more into a rock by the Tathagatha Buddha. The circularity of this trajectory is, as we shall discuss, itself significant, and central to the mythological structure that the very title of the game situates at its ontological heart. ",[],{},{"nodeType":143,"data":19488,"content":19489},{},[19490,19494,19498],{"nodeType":147,"value":19491,"marks":19492,"data":19493},"It is incidentally also ironic, given the supposed ‘message’ of ",[],{},{"nodeType":147,"value":19334,"marks":19495,"data":19497},[19496],{"type":808},{},{"nodeType":147,"value":19499,"marks":19500,"data":19501},", that virtually all of the known temples that have been devoted to the worship of the monkey king in Southeast Asia and Taiwan worship him under the name ‘The Great Sage Equaling Heaven’, the illegitimate title he claimed for himself rather than the one he was bequeathed by heaven; in effect, this renders these temples into sites of pagan and sacrilegious worship of a blaspheming usurper. Some have claimed that the title of Victorious Fighting Buddha is shared by another Buddha inducted into the canon of Chinese saints often invoked in rituals of purification of conscience, Yuddhajaya, but that still does not explain why Wukong has been venerated through the centuries under the presumptuous title that he claimed for himself in outright defiance and denial of the gods. ",[],{},{"nodeType":5945,"data":19503,"content":19545},{"target":19504},{"metadata":19505,"sys":19508,"fields":19518},{"tags":19506,"concepts":19507},[],[],{"space":19509,"id":19511,"type":18,"createdAt":19512,"updatedAt":19513,"environment":19514,"publishedVersion":26,"revision":1123,"contentType":19516,"locale":31},{"sys":19510},{"type":14,"linkType":15,"id":16},"1lEpTgeOLN9kQScbpitUsH","2026-01-26T10:25:51.898Z","2026-01-26T11:54:38.874Z",{"sys":19515},{"id":23,"type":14,"linkType":24},{"sys":19517},{"type":14,"linkType":29,"id":5961},{"name":19519,"images":19520,"visibility":5987,"galleryFormat":5988,"gallerySize":5989,"gridColumns":5866,"gridSpacing":5990,"scrollImageSize":5989,"imageOptions":19544},"Wukong gallery 3",[19521],{"metadata":19522,"sys":19525,"fields":19533},{"tags":19523,"concepts":19524},[],[],{"space":19526,"id":19528,"type":212,"createdAt":19529,"updatedAt":19530,"environment":19531,"publishedVersion":1078,"revision":1123,"locale":31},{"sys":19527},{"type":14,"linkType":15,"id":16},"1sWwUwWSq5KXWDDPhp0KTz","2026-01-26T10:13:00.179Z","2026-01-26T10:25:48.085Z",{"sys":19532},{"id":23,"type":14,"linkType":24},{"title":19534,"description":19535,"file":19536},"wukong-images-161","_Black Myth: Wukong_. Courtesy of Game Science and Game Press.",{"url":19537,"details":19538,"fileName":19543,"contentType":228},"\u002F\u002Fimages.ctfassets.net\u002F2urh0izv0sep\u002F1sWwUwWSq5KXWDDPhp0KTz\u002Fd64990dc3070a95ae66f6b9b79c142e2\u002Fimages-161.png",{"size":19539,"image":19540},4406475,{"width":19541,"height":19542},2237,1269,"images-161.png",[4640],[],{"nodeType":5812,"data":19547,"content":19548},{},[19549],{"nodeType":147,"value":19550,"marks":19551,"data":19552},"3 \nOrder of Value: Wukong against the Economy ",[],{},{"nodeType":143,"data":19554,"content":19555},{},[19556],{"nodeType":147,"value":19557,"marks":19558,"data":19559},"Whatever the case is, it is difficult to deny that the incendiary, magnetic force of the figure of the monkey king lies in his resistance to capture by any existing order of signification. In any case, rebellion has always been the sexiest and most rousing commodity of all – particularly as gamers of the last decade have, for better or worse, imagined themselves to be rebels of one stripe or another, believing that their advocacy for video games as a legitimate art form is inherently subversive. As such, it is very easy to imagine a game about Lucifer’s banishment from heaven, but hardly anybody would find playing Archangel Gabriel in this scenario as being an attractive prospect. It is also banal to remark, however, that this nebulous, larval anti-establishmentarianism, when voided of any concrete ideological coordinates, has a marked tendency in the digital climate of today to drift rightward as an imagined going-against-the-grain of diversity, equality, inclusion, and what some perceive as the dictatorship of ‘wokeness’. ",[],{},{"nodeType":143,"data":19561,"content":19562},{},[19563,19567,19571,19575,19579],{"nodeType":147,"value":19564,"marks":19565,"data":19566},"In this climate, a Chinese developer hitching its wagon to the chariot of China’s duplicitous, relentlessly cunning trickster god – the paragon of inviolate\u002Finviolable singularity – is a sure bet from a commercial perspective. In the case of this particular game, rebellion can mean, and has meant, anything to anyone anywhere. To the more nationalistically-inclined, the sheer fact of ",[],{},{"nodeType":147,"value":19081,"marks":19568,"data":19570},[19569],{"type":808},{},{"nodeType":147,"value":19572,"marks":19573,"data":19574}," existence is a precursor to BRICs nations producing their own games, affirming pride in one’s national cultural heritage (echoing Xi Jinping’s strategic priority of consolidating, disseminating, and transmitting ‘cultural confidence’) while contesting the cultural hegemony of Western or Japanese imports. For Western conservatives, Chinese games and their freedom from political correctness as observed in the West represent the possibility of returning to the ‘old-fashioned fun’ of being able to control buxom, scantily-clad women without being shamed. For foreign-born, ethnically Chinese gamers, ",[],{},{"nodeType":147,"value":19081,"marks":19576,"data":19578},[19577],{"type":808},{},{"nodeType":147,"value":19580,"marks":19581,"data":19582}," represents a cathartic homecoming. Multiple reviews on the PC gaming platform Steam’s database by users describe the sense of feeling profoundly moved after seeing scenes from a mythical, originary text that they had encountered in one form or another as children growing up remote from the motherland – as though the game opened a wellspring flowing outwards from some ancestral, trans-historical womb, offering a panacea for all the dislocation and bewilderment of growing up estranged from one’s ‘people’. ",[],{},{"nodeType":143,"data":19584,"content":19585},{},[19586,19590,19594,19598,19603,19607,19611],{"nodeType":147,"value":19587,"marks":19588,"data":19589},"It would be remiss of me not to mention my own position, insofar as I was born in Canada to parents who had migrated from Hong Kong and had been living in North America for the better part of two decades, and that ",[],{},{"nodeType":147,"value":19334,"marks":19591,"data":19593},[19592],{"type":808},{},{"nodeType":147,"value":19595,"marks":19596,"data":19597}," (alongside the ",[],{},{"nodeType":147,"value":19599,"marks":19600,"data":19602},"Water Margin",[19601],{"type":808},{},{"nodeType":147,"value":19604,"marks":19605,"data":19606}," 水滸傳 ) was a foundational part of my childhood and adolescence. For my part, I feel bemused, even antipathetic towards such reactions, having witnessed firsthand how this need to identify with an imagined, majoritarian national community in cultural and geopolitical terms can assume either the form of ‘anti-imperialist’ neo-Leninist campism (unconditional support for nation states, from China to Iran and Syria, opposed to the interests of the Western hegemons) or fervor for the expansion of Chinese empire, which in practice amount to the same thing. However diverse the three forms of imagined rebellion outlined in the previous paragraph appear, they all treat the game as a salvo in the service of an identitarian, often nationalised community. Prior to the writing of this essay I had not properly reflected on how curious a sociological phenomenon the release of the game really is, affording as it does an opportunity for Chinese-born millennial tankies,",[],{},{"nodeType":147,"value":6338,"marks":19608,"data":19610},[19609],{"type":5869},{},{"nodeType":147,"value":19612,"marks":19613,"data":19614}," Trump-voting gamers, and native Chinese nationalists alike to align under a common cause. ",[],{},{"nodeType":143,"data":19616,"content":19617},{},[19618,19622,19627,19631,19635,19639,19643],{"nodeType":147,"value":19619,"marks":19620,"data":19621},"This very fact has caused a paranoiac backlash in the opposite direction on the part of the more ‘progressive’ quarters of the gaming press, anxious to dismiss the merits of a game beloved by the enemy. One prominent gaming outlet devoted considerable space in the review underlining the fact that the game does not feature a single female character in the first two chapters. Given that some of the ",[],{},{"nodeType":147,"value":19623,"marks":19624,"data":19626},"yaoguai",[19625],{"type":808},{},{"nodeType":147,"value":19628,"marks":19629,"data":19630}," you fight in the first two chapters are demonic bats, snakes, and frogs, it hardly seems too important whether they are gendered male or female to begin with.",[],{},{"nodeType":147,"value":6354,"marks":19632,"data":19634},[19633],{"type":5869},{},{"nodeType":147,"value":19636,"marks":19637,"data":19638}," Then there are the multiple screencaps of WeChat updates by the lead programmer at Game Science, Yang Qi, repeatedly likening his anticipation at the prospect of the game’s release to his throbbing member aching for ecstatic release.",[],{},{"nodeType":147,"value":6363,"marks":19640,"data":19642},[19641],{"type":5869},{},{"nodeType":147,"value":19644,"marks":19645,"data":19646}," All this, for that said reviewer, was offered as proof of inexcusable barbarity on the part of a team of heteronormative developers from a dictatorial ‘backwater’. Taken together, these are revealing symptoms of the psychopathology of the ‘culture wars’ in which we are regrettably enmeshed, but none of them deal at all with the real matter of the game itself, and none of them truly take up the ways in which Game Science engage with Wukong as an avatar of chaos, or the philosophically sophisticated fashion in which the ontological implications of his defiance is treated. ",[],{},{"nodeType":5812,"data":19648,"content":19649},{},[19650],{"nodeType":147,"value":19651,"marks":19652,"data":19653},"An Aside on the ‘Ice Age’ of Chinese Gaming and the Game’s Form ",[],{},{"nodeType":143,"data":19655,"content":19656},{},[19657],{"nodeType":147,"value":19658,"marks":19659,"data":19660},"It bears reminding here that the very existence of the game itself should not be taken for granted, given how inhospitable the climate for single-player game development in China has been, with a ban on the sale of video gaming consoles across the country from 2000 to 2015. This is emblematic of the state’s previous position on what it regarded to be compulsive, addictive forms of media that could affect the development of school-attending youth. The first AAA release from Chinese shores is not a tentative wading into the treacherous waters of big-budget game development, however; it is a thoroughly polished cultural commodity, boasting perhaps the most marvelously-detailed graphics I have had the pleasure of gawking at across a lifetime of gaming, together with immaculate, bug-free technical performance and, perhaps the most remarkable achievement of all, an inordinate amount of care devoted to the minutiae of the world, its lore and its exposition in both classical Chinese and English, with the poetry of the original language coming through in the measured metre of the English translation. ",[],{},{"nodeType":143,"data":19662,"content":19663},{},[19664],{"nodeType":147,"value":19665,"marks":19666,"data":19667},"The format itself is strategic, an action RPG of the ‘soulslike’ variety. In brief, the sub-genre, pioneered by the Japanese cult developer FromSoftware, involves exploring oppressively bleak environments, sprawling with hordes of demonic creatures and crushingly difficult bosses. The notoriety of these games lies in their punishing difficulty, with the combat requiring a precise grasp of the timing required to dodge and parry enemy attacks, as well as an exact feel for the often slow and ungainly rhythm of wielding weaponry. ",[],{},{"nodeType":5945,"data":19669,"content":19710},{"target":19670},{"metadata":19671,"sys":19674,"fields":19684},{"tags":19672,"concepts":19673},[],[],{"space":19675,"id":19677,"type":18,"createdAt":19678,"updatedAt":19679,"environment":19680,"publishedVersion":26,"revision":1123,"contentType":19682,"locale":31},{"sys":19676},{"type":14,"linkType":15,"id":16},"3KRfsXDMQBCdOsWX46uGc5","2026-01-26T10:50:59.335Z","2026-01-26T11:54:50.640Z",{"sys":19681},{"id":23,"type":14,"linkType":24},{"sys":19683},{"type":14,"linkType":29,"id":5961},{"name":19685,"images":19686,"visibility":5987,"galleryFormat":5988,"gallerySize":5989,"gridColumns":5866,"gridSpacing":5990,"scrollImageSize":5989,"imageOptions":19709},"Wukong gallery 4",[19687],{"metadata":19688,"sys":19691,"fields":19699},{"tags":19689,"concepts":19690},[],[],{"space":19692,"id":19694,"type":212,"createdAt":19695,"updatedAt":19696,"environment":19697,"publishedVersion":51,"revision":1123,"locale":31},{"sys":19693},{"type":14,"linkType":15,"id":16},"1FFRzbvlUKk9oMnURzmdB2","2026-01-26T10:13:00.169Z","2026-01-26T10:50:55.776Z",{"sys":19698},{"id":23,"type":14,"linkType":24},{"title":19700,"description":19535,"file":19701},"images-162",{"url":19702,"details":19703,"fileName":19708,"contentType":228},"\u002F\u002Fimages.ctfassets.net\u002F2urh0izv0sep\u002F1FFRzbvlUKk9oMnURzmdB2\u002F7c536bbeb2732ea27206c7e42dbb436d\u002Fimages-162.png",{"size":19704,"image":19705},5039368,{"width":19706,"height":19707},2334,1033,"images-162.png",[4640],[],{"nodeType":143,"data":19712,"content":19713},{},[19714,19718,19723],{"nodeType":147,"value":19715,"marks":19716,"data":19717},"Most significantly, the choice of this particular subgenre affords Game Science a number of distinct advantages on both the level of form and content. Since ‘soulslike’ games are not narrative-driven, a hallmark is that the storytelling is as obscure as the environments themselves. The allure of the game therefore does not hinge on the need for compelling narrative exposition and development, which in turn means that non-Chinese gamers can dispense entirely with the vast expanse of cultural intertextuality in which the game is enmeshed, engaging exclusively with the immersive fidelity of the hyperreal environments and the intensity of the combat. Such gamers would not feel at all compelled to read the reams of exegetical text hidden in the game’s optional menus or attend to the fractured, aporetic bits of story disclosed in the cut scenes. What ",[],{},{"nodeType":147,"value":19719,"marks":19720,"data":19722},"Black Myth",[19721],{"type":808},{},{"nodeType":147,"value":19724,"marks":19725,"data":19726}," shares with other ‘soulslike’ games is precisely this cryptic allusiveness that affords an abyssal feeling of depth that is atmospheric and ambient, without requiring the player to properly engage with it to enjoy or even advance in the game. This is what allows the game to circumvent any problems that might arise in translation, allowing the game to, at one and the same time, situate itself as a richly allusive text ensconced in a discursive field that stretches across centuries, while also affording players the choice to approach this arcana with exactly the amount of (in)attention or (dis)regard as they feel comfortable with. At the same time, the very fact that the game is steeped in this history lends the authority of cultural authenticity to the depth of this atmosphere; folkloric ‘Chineseness’ lends a luminous halo to every clearing, marsh, and dune that one finds oneself in. ",[],{},{"nodeType":143,"data":19728,"content":19729},{},[19730,19734],{"nodeType":147,"value":19731,"marks":19732,"data":19733},"Correspondingly, the nameless protagonists in ‘soulslike’ games typically have no backstory of their own and do not require one, being but a blank cipher that the player gradually attaches attributes to – in the form of skill points – that advance the protagonist’s skill set (in hand-to-hand combat or ranged magic) in one direction or another. The ‘build’ of the protagonist becomes purely and simply a customised reflection of the player’s preferences. Fittingly, the character that the player controls throughout the game, then, is not in fact Wukong, but the ‘Destined One’, a devotee of a Huaguo Mountain cult intent on resurrecting the Monkey God by wresting six relics from a host of demon kings scattered across four worlds in the game, representing the six aspects of Wukong’s being (Craving Eyes, Fuming Ears, Hubris Nose, Envious Tongue, Grievous Body, and the ‘Free Mind’, which can only be secured after finally defeating Erlang for the true ending). Tellingly, the name of each relic indicates that the senses intrinsically tether the suffering, sentient being to the world of transient attachments, all except the free mind which attains liberation through gnosis.",[],{},{"nodeType":147,"value":6379,"marks":19735,"data":19737},[19736],{"type":5869},{},{"nodeType":5945,"data":19739,"content":19780},{"target":19740},{"metadata":19741,"sys":19744,"fields":19754},{"tags":19742,"concepts":19743},[],[],{"space":19745,"id":19747,"type":18,"createdAt":19748,"updatedAt":19749,"environment":19750,"publishedVersion":26,"revision":1123,"contentType":19752,"locale":31},{"sys":19746},{"type":14,"linkType":15,"id":16},"XVRjH1ZP6YpcIeemFZttg","2026-01-26T10:51:44.835Z","2026-01-26T11:54:55.291Z",{"sys":19751},{"id":23,"type":14,"linkType":24},{"sys":19753},{"type":14,"linkType":29,"id":5961},{"name":19755,"images":19756,"visibility":5987,"galleryFormat":5988,"gallerySize":5989,"gridColumns":5866,"gridSpacing":5990,"scrollImageSize":5989,"imageOptions":19779},"Wukong gallery 5",[19757],{"metadata":19758,"sys":19761,"fields":19769},{"tags":19759,"concepts":19760},[],[],{"space":19762,"id":19764,"type":212,"createdAt":19765,"updatedAt":19766,"environment":19767,"publishedVersion":51,"revision":1123,"locale":31},{"sys":19763},{"type":14,"linkType":15,"id":16},"5beb5tHzYbPEvsKwxAL0t5","2026-01-26T10:13:00.165Z","2026-01-26T10:51:41.776Z",{"sys":19768},{"id":23,"type":14,"linkType":24},{"title":19770,"description":19535,"file":19771},"images-164",{"url":19772,"details":19773,"fileName":19778,"contentType":228},"\u002F\u002Fimages.ctfassets.net\u002F2urh0izv0sep\u002F5beb5tHzYbPEvsKwxAL0t5\u002Fd5879c72986bf66a875aff9c959001b4\u002Fimages-164.png",{"size":19774,"image":19775},5368345,{"width":19776,"height":19777},2514,1174,"images-164.png",[4640],[],{"nodeType":5812,"data":19782,"content":19783},{},[19784],{"nodeType":147,"value":19785,"marks":19786,"data":19787},"4 \nOrder of Law: Wukong, Vengeance in Defiance of Justice ",[],{},{"nodeType":143,"data":19789,"content":19790},{},[19791],{"nodeType":147,"value":19792,"marks":19793,"data":19794},"Significantly, the Destined One is an entirely mute spectator of the events that unfold throughout the game. While he wields a cudgel, shapeshifts, and moves with the effortless ease of the Wukong of our imagination, he has none of the insolence, functioning as a tabula rasa upon which the will of fate is written. He patiently heeds the sages who gradually disclose the import of his quest to him, always listening, not once speaking. Throughout the game, it is as though one is a student being indoctrinated in the basic rubric of metaphysics and Buddhist-Daoist theology that governs the utterly opaque world that you are traversing. ",[],{},{"nodeType":143,"data":19796,"content":19797},{},[19798,19802,19806,19809,19813,19817,19821,19825,19829,19833,19837],{"nodeType":147,"value":19799,"marks":19800,"data":19801},"This order of things is a cosmology governed by hierarchy, station, and proportion, an economy where each genus and species observes its limits and certainly does not engage in miscegeny. As a sage puts it in the opening chapter: ‘Men, beasts, Buddhas, ",[],{},{"nodeType":147,"value":19623,"marks":19803,"data":19805},[19804],{"type":808},{},{"nodeType":147,"value":8780,"marks":19807,"data":19808},[],{},{"nodeType":147,"value":8053,"marks":19810,"data":19812},[19811],{"type":5869},{},{"nodeType":147,"value":19814,"marks":19815,"data":19816}," each bears a distinct root from birth, superior and inferior. None should disturb what’s decided.’ One is made to understand that the ",[],{},{"nodeType":147,"value":19623,"marks":19818,"data":19820},[19819],{"type":808},{},{"nodeType":147,"value":19822,"marks":19823,"data":19824}," that you fight are incarnations of outsized desires and undead blind drives that have consumed them whole, compelling them to demonic repetition for eternity. Defeat of each ",[],{},{"nodeType":147,"value":19623,"marks":19826,"data":19828},[19827],{"type":808},{},{"nodeType":147,"value":19830,"marks":19831,"data":19832}," yields a long tale of their slow descent into monstrosity (which you can peruse at your leisure in the game’s user interface). The overriding feeling that one gets playing the game as you make agonising progress through these beautiful but beautifully sterile worlds, arrested in a purgatorial state without end, without hope of redemption or reprieve – overgrown marshes and algae-choked swamps, desert steppe, glacial tundras, volcanic wastelands – is one of being imprisoned in a world of blind compulsion, the pitiless world of unregenerate nature in lamentation, as in Walter Benjamin’s analyses of German tragic drama. It is this which points towards a possible ontological interpretation of the title of the game (‘Black Myth’) because the world of the game is precisely the realm of myth, the space of an inchoate, a-historical miasma of magic, the frog awaiting the beneficent kiss of the princess (an especially salient metaphor given one of the bosses you must vanquish is a frog ",[],{},{"nodeType":147,"value":19623,"marks":19834,"data":19836},[19835],{"type":808},{},{"nodeType":147,"value":19838,"marks":19839,"data":19840}," awaiting the deliverance of a killing blow). ",[],{},{"nodeType":143,"data":19842,"content":19843},{},[19844,19848,19853,19857,19861,19865],{"nodeType":147,"value":19845,"marks":19846,"data":19847},"In this world, extinction is mercy, and the Destined One is the compassionate bringer of deliverance, releasing the yaoguai from the stranglehold of their native obsession, whether this is idolatry (some demon kings found their own cult, pretending to be Buddhas leading the devout to a millenarian paradise), greed (straying from the path of the Buddha developing a fatal fetish for some shiny bauble ",[],{},{"nodeType":147,"value":19849,"marks":19850,"data":19852},"objet a",[19851],{"type":808},{},{"nodeType":147,"value":8102,"marks":19854,"data":19856},[19855],{"type":5869},{},{"nodeType":147,"value":19858,"marks":19859,"data":19860}," or piece of clothing) or earthly love (the path of Zhu Bajie",[],{},{"nodeType":147,"value":8170,"marks":19862,"data":19864},[19863],{"type":5869},{},{"nodeType":147,"value":19866,"marks":19867,"data":19868}," himself, the former celestial general rose above his station daring to fall in love with Chang’e, the moon goddess, and who continually forsakes the path of Buddhahood by playing the infernal part of Don Juan, willfully falling for fairies, spirits, and mortal women, thereby transgressing the ontological taboo of miscegenation). ",[],{},{"nodeType":143,"data":19870,"content":19871},{},[19872],{"nodeType":147,"value":19873,"marks":19874,"data":19875},"All of this comes to a climactic head in the fourth world, when the Destined One confronts the Bull Demon King, former sworn brother of Wukong. After besting his wife Princess Iron Fan and seizing the fan once more, the cut scene which concludes this chapter revisits the defeat of the Bull King in the original novel, with Nezha and Devaraja Li subduing him, his son and his wife by raining fire and thunder from the heavens, leaving the familial home a heap of ash. With the Bull King laid low and reduced to a bloodied heap on the floor, Wukong caresses the snout of the sworn brother that he was commanded by divine edict to betray, telling him: ‘Find a master and walk the path of the righteous. Don’t you see that this is the only path left for us now?’ All that wretches like Wukong and the Bull King can do is obey to survive. While Wukong is speaking these words, flame continues to rain from the sky and Zhu Bajie triumphantly informs his brother that he has struck the Bull King’s helpless wife with a swing of his rake. Hearing this, the Bull King unleashes a howl of lamentation and is struck down by a wrathful Nezha. Then, Wukong remarks bitterly that he, too, will not find release, for he bears the mark of irredeemable sin, and no amount of performative surrender will gain him and the Bull King the peace that they seek: ‘The way I saw it, with enough merit and a position before a Buddha, they would leave me be, and you as well. Now I see, for someone like me, staying alive is itself a transgression.’ That is, Wukong’s piety-cum-penitence must be proven ceaselessly in acts of imperial violence which abase himself through the abasement of others. Absolution is never complete, and Wukong’s destiny is instead an eternity of a debt of irrevocable guilt that can never be paid in full. It is here that he comes into agonising awareness of his kinship with unregenerate creation itself, steeped in sin and subject to unremitting punishment, inflicted by the hand of executioners like himself desperate to escape karmic retribution. ",[],{},{"nodeType":143,"data":19877,"content":19878},{},[19879],{"nodeType":147,"value":19880,"marks":19881,"data":19882},"As such, the game offers two solutions towards the problem of redemption with the game’s two endings. As the Destined One journeys towards the rock in which Wukong is imprisoned, intent on awakening him through the restoration of five of his six senses, the Sage from the opening chapter delivers a precis on the precepts of the game’s cosmology: ",[],{},{"nodeType":143,"data":19884,"content":19885},{},[19886],{"nodeType":147,"value":19887,"marks":19888,"data":19889},"‘For ages, countless gifted souls have walked this earth. Yet of them, how few have forged eternal greatness? Do you know why?’ ",[],{},{"nodeType":143,"data":19891,"content":19892},{},[19893],{"nodeType":147,"value":19894,"marks":19895,"data":19896},"‘Injustice?’ ",[],{},{"nodeType":143,"data":19898,"content":19899},{},[19900],{"nodeType":147,"value":19901,"marks":19902,"data":19903},"‘Ha, never has it been just!’ ",[],{},{"nodeType":143,"data":19905,"content":19906},{},[19907],{"nodeType":147,"value":19908,"marks":19909,"data":19910},"‘Misfortune?’ ",[],{},{"nodeType":143,"data":19912,"content":19913},{},[19914],{"nodeType":147,"value":19915,"marks":19916,"data":19917},"‘Fortune is simply humility in the mighty . . . gifted they may be, but strive they not; content with little and lost in lust, seek the ease yet crave the renown, they yearn for freedom yet aspire to Buddhahood, they always want both, and yet nobody can and nobody should. Such was the folly of Sun Wukong. Destiny’s favour calls for the resolution to sever all desires.’ Wukong is errant, and for that errancy he shall be punished in eternity, however many times he rises up he will be cast low upon the killing floor of the earth. ",[],{},{"nodeType":143,"data":19919,"content":19920},{},[19921],{"nodeType":147,"value":19922,"marks":19923,"data":19924},"In the game’s supposed final set piece, the Destined One faces off against a re-animated vessel of Wukong, and besting the demonic aspect of himself, kneels before the Sage to receive the golden fillet, the headband which connotes surrender of the will and submission before his vocation as a servant of the imperial court. The Destined One once more assumes the role of heaven’s sword of wrath, accepting his place among the gods as a mere executioner. This is the first solution that the game offers to dealing with the ineliminable mark of sin that Wukong bears: that of resignation. ",[],{},{"nodeType":143,"data":19926,"content":19927},{},[19928],{"nodeType":147,"value":19929,"marks":19930,"data":19931},"The secret ending, however, adds a Hegelian-Benjaminian twist that comprehensively subverts this conclusion, fully restoring the Monkey King of our childhood in all of his exultant willfulness. By fulfilling certain requirements in the game, there is an ultimate boss fight after defeating Wukong’s fleshly vessel. When one finally defeats Erlang, the Destined One discovers that the final (and most integral) item, the Free Mind of Wukong, is hidden in Erlang’s third eye. The Free Mind in fact contains the entirety of Wukong’s memory, lacerated by the wounds of all the suffering that he has borne slaying yaoguai, bearing the insupportable weight of the mercy that he carries for creatures ground beneath the bludgeon of heaven. This epiphany, recovering in a flash the whole of this memory in all of its explosive emotional excess, transforms the Destined One once more into Wukong, reborn as the messianic avenging angel of suffering creation, the one who will shatter the false eternity of myth and cast it into the furnace of time and history. This is the true meaning of the Victorious Fighting Buddha, a sort of self-authorised synthesis of bodhisattva and Nietzsche’s call to be true to the earth: ‘And so ends the last tale of Sun Wukong, a hero who treasured freedom above all else. Buddhahood he attained yes, but cumbersome he found the Celestial Rules, for he yearned to come back and revel in the simple joys with us.’ The blackness affirmed in the title of the game, then, is the blackness of the abyss (and Agamben’s potentiality), the generic\u002Fgenetic black void of the virtual from which possibility emerges, blackening the fixity of myth and returning it to the chaos and becoming of time. Wukong ( 悟空 ), or the ‘gnosis of the void’, is not the acceptance of sterility and predestination of the first ending, but an opening to the emptiness of presence, hollowing out the now and reckoning with the spectres of the past so that the indeterminacy of the future may come. ",[],{},{"nodeType":5945,"data":19933,"content":19961},{"target":19934},{"metadata":19935,"sys":19938,"fields":19945},{"tags":19936,"concepts":19937},[],[],{"space":19939,"id":19747,"type":18,"createdAt":19748,"updatedAt":19749,"environment":19941,"publishedVersion":26,"revision":1123,"contentType":19943,"locale":31},{"sys":19940},{"type":14,"linkType":15,"id":16},{"sys":19942},{"id":23,"type":14,"linkType":24},{"sys":19944},{"type":14,"linkType":29,"id":5961},{"name":19755,"images":19946,"visibility":5987,"galleryFormat":5988,"gallerySize":5989,"gridColumns":5866,"gridSpacing":5990,"scrollImageSize":5989,"imageOptions":19960},[19947],{"metadata":19948,"sys":19951,"fields":19956},{"tags":19949,"concepts":19950},[],[],{"space":19952,"id":19764,"type":212,"createdAt":19765,"updatedAt":19766,"environment":19954,"publishedVersion":51,"revision":1123,"locale":31},{"sys":19953},{"type":14,"linkType":15,"id":16},{"sys":19955},{"id":23,"type":14,"linkType":24},{"title":19770,"description":19535,"file":19957},{"url":19772,"details":19958,"fileName":19778,"contentType":228},{"size":19774,"image":19959},{"width":19776,"height":19777},[4640],[],{"nodeType":5812,"data":19963,"content":19964},{},[19965],{"nodeType":147,"value":19966,"marks":19967,"data":19968},"5 \nOrder of Form: Wukong in Revolt against Representation ",[],{},{"nodeType":143,"data":19970,"content":19971},{},[19972],{"nodeType":147,"value":19973,"marks":19974,"data":19975},"In the final scene of the game, Wukong returns to Huaguo Mountain and delivers a speech before his monkey brethren: ‘Bottoms up, brothers! One final feast before we crash the Celestial Palace!’ In the final shot, Wukong prepares to stride forth beyond the waterfall curtain that serves as the entrance to his royal cave, and turns back to address his brothers, but the shot that we see is a cavern stained with blood and littered with bloodied halberds and scimitars. This shot renders the ending of the game ambiguous – is this assault upon heaven ultimately futile and waged by Wukong himself in full knowledge of its futility? In which case are we returned to the space of myth, with Wukong being the eternally antagonistic force of unrest, the Manichean Yang that balances the Yin and merely provides balance – rather than the bearer of a messianic violence that will rupture the bases of this mythic cosmology? It is here that the game gestures reflexively towards its own mediality as a game, since the Destined One and Wukong have effectively been sport in a cosmic game, subject to the constraints of an established design with its attendant rules, laws, and circumscriptions, and this fact is literally dramatised here by being transposed into the form of a soulslike game with a compulsively addictive gameplay loop. ",[],{},{"nodeType":143,"data":19977,"content":19978},{},[19979,19983,19988],{"nodeType":147,"value":19980,"marks":19981,"data":19982},"The game effectively makes the player aware that the continued playing of a game invariably involves endorsement and affirmation of the economy of its political grammar: start the game again, and you are again thrust into a world where the accursed are forever crying for deliverance from the cycle of rebirth. The Destined One is compelled, in vain, to find himself through the eternal labour of the negative, exacting unceasing violence upon that part of himself and others that cannot be accommodated by the established order. In the end, the question remains as to whether Wukong is condemned to be a Sisyphean cosmic clown, entrapped within the mythic confines of this cosmic game ",[],{},{"nodeType":147,"value":19984,"marks":19985,"data":19987},"ad aeternitatem",[19986],{"type":808},{},{"nodeType":147,"value":19989,"marks":19990,"data":19991},", or a bearer of the novelty of revolutionary time, breaking entirely out of the spatio-temporal frame of the game altogether and gesturing towards Nietzsche’s ‘divine table of the earth’, the open, utterly contingent virtual field where agencies of chaos conspire and precipitate the roll of the dice that is historic transformation. Here, the singular intransigence of Wukong from capture explodes the representational space of the game itself and reveals its paucity as a representative medium, pointing towards that which cannot be represented or claimed as the ontological property of a nation or an ethnos. Wukong is the ineluctable, irreducible excess in ‘our’ history, exposing a transversal remainder beyond any state-sanctioned codification of identity or belonging. ",[],{},{"nodeType":143,"data":19993,"content":19994},{},[19995,19999,20003,20007,20011],{"nodeType":147,"value":19996,"marks":19997,"data":19998},"It is this gesture towards an openness outside of the game itself that, to my mind, ",[],{},{"nodeType":147,"value":19081,"marks":20000,"data":20002},[20001],{"type":808},{},{"nodeType":147,"value":20004,"marks":20005,"data":20006},", from a serviceable if forgettable commodity with cultural trimmings to a provocative\u002Fevocative commentary on the political and ontological constellations that surround it. It also raises questions about the possibilities – and limitations – of video games as a means of engagement with such questions, being essentially commodities intensely beholden to the volatile caprices of funding, publicity, and turbulent market expectation",[],{},{"nodeType":147,"value":8241,"marks":20008,"data":20010},[20009],{"type":5869},{},{"nodeType":147,"value":20012,"marks":20013,"data":20014}," across years-long production cycles. ",[],{},{"nodeType":143,"data":20016,"content":20017},{},[20018,20022,20026,20030,20035,20039,20044],{"nodeType":147,"value":20019,"marks":20020,"data":20021},"Few games have the luxury of having one’s cake and eating it, as ",[],{},{"nodeType":147,"value":19081,"marks":20023,"data":20025},[20024],{"type":808},{},{"nodeType":147,"value":20027,"marks":20028,"data":20029}," does: the conditions of its release having virtually guaranteed its commercial success, its open-ended form surreptitiously smuggles what might be called subversive contraband content into a perfectly unassuming Trojan horse of a chassis. It functions perfectly well as a ‘good’ game for the global market without compelling most consumers to engage (even minimally) with the more esoteric aspects of its textuality. Yet the fact that the game manages to operate as a commentary on perhaps the ",[],{},{"nodeType":147,"value":20031,"marks":20032,"data":20034},"ur",[20033],{"type":808},{},{"nodeType":147,"value":20036,"marks":20037,"data":20038},"-text of Chinese mythology, fashioning a gnostic allegory that sets the genetic\u002Fgeneric time of the mythological against the mythic present, ",[],{},{"nodeType":147,"value":20040,"marks":20041,"data":20043},"as well as",[20042],{"type":808},{},{"nodeType":147,"value":20045,"marks":20046,"data":20047}," being a successful commodity that ticks all the boxes of commercially viable games, is entirely to its credit. ",[],{},{"nodeType":143,"data":20049,"content":20050},{},[20051],{"nodeType":147,"value":20052,"marks":20053,"data":20054},"Some of the resonances that the game produces might ultimately be entirely inadvertent, especially for partisan gamers such as myself, but such are the risks that a developer assumes when invoking a trickster god. Whatever the case, this essay suggests that a game’s ‘politics’ might lie beyond rudimentary questions of representation. As a means by which the moorings that constitute the fixity of nation, people, and state can be exposed and rendered inoperative, they continue to be one of the most powerful means by which we can mobilise cultural resources and affects for the purposes of creating new cartographies and mythologies in defiance of the imperatives of the present. ",[],{},{"nodeType":143,"data":20056,"content":20057},{},[20058],{"nodeType":147,"value":219,"marks":20059,"data":20060},[],{},{"nodeType":143,"data":20062,"content":20063},{},[20064],{"nodeType":147,"value":219,"marks":20065,"data":20066},[],{},{"nodeType":6419,"data":20068,"content":20069},{},[],{"nodeType":6423,"data":20071,"content":20072},{},[20073,20077,20081],{"nodeType":147,"value":20074,"marks":20075,"data":20076},"1 Grafton Tanner, ",[],{},{"nodeType":147,"value":19133,"marks":20078,"data":20080},[20079],{"type":808},{},{"nodeType":147,"value":20082,"marks":20083,"data":20084}," (Cambridge: Polity, 2023). ",[],{},{"nodeType":143,"data":20086,"content":20087},{},[20088],{"nodeType":147,"value":219,"marks":20089,"data":20090},[],{},{"nodeType":6423,"data":20092,"content":20093},{},[20094,20098,20103],{"nodeType":147,"value":20095,"marks":20096,"data":20097},"2 Theodor W. Adorno and Max Horkheimer, ",[],{},{"nodeType":147,"value":20099,"marks":20100,"data":20102},"Dialectic of Enlightenment",[20101],{"type":808},{},{"nodeType":147,"value":20104,"marks":20105,"data":20106},", trans. Edmund Jephcott (Stanford, CA: Stanford University Press, 2002), p. 15. ",[],{},{"nodeType":143,"data":20108,"content":20109},{},[20110],{"nodeType":147,"value":219,"marks":20111,"data":20112},[],{},{"nodeType":6423,"data":20114,"content":20115},{},[20116,20120,20125,20129,20136],{"nodeType":147,"value":20117,"marks":20118,"data":20119},"3 Mao Zedong, ‘Reply to Comrade Kuo Mo-Jo (Inscription on a Picture Taken by Comrade Li Chin)’, 17 November 1961, in ",[],{},{"nodeType":147,"value":20121,"marks":20122,"data":20124},"Selected Works of Mao Tse-tung",[20123],{"type":808},{},{"nodeType":147,"value":20126,"marks":20127,"data":20128},", vol. 4, ",[],{},{"nodeType":865,"data":20130,"content":20132},{"uri":20131},"https:\u002F\u002Fwww.marxists.org\u002Freference\u002Farchive\u002Fmao\u002Fselected-works\u002Fpoems\u002Fpoems31.htm",[20133],{"nodeType":147,"value":20131,"marks":20134,"data":20135},[],{},{"nodeType":147,"value":219,"marks":20137,"data":20138},[],{},{"nodeType":143,"data":20140,"content":20141},{},[20142],{"nodeType":147,"value":219,"marks":20143,"data":20144},[],{},{"nodeType":6423,"data":20146,"content":20147},{},[20148,20152,20156],{"nodeType":147,"value":20149,"marks":20150,"data":20151},"4 In English translation, see Wu Cheng’en, ",[],{},{"nodeType":147,"value":19334,"marks":20153,"data":20155},[20154],{"type":808},{},{"nodeType":147,"value":20157,"marks":20158,"data":20159},", trans. Anthony C. Yu, 4 vols. (Chicago: University of Chicago Press, 1977–1983). ",[],{},{"nodeType":143,"data":20161,"content":20162},{},[20163],{"nodeType":147,"value":219,"marks":20164,"data":20165},[],{},{"nodeType":6423,"data":20167,"content":20168},{},[20169],{"nodeType":147,"value":20170,"marks":20171,"data":20172},"5 Literally ‘gnosis made flesh’: embodied knowledge or embodied consciousness. ",[],{},{"nodeType":143,"data":20174,"content":20175},{},[20176],{"nodeType":147,"value":219,"marks":20177,"data":20178},[],{},{"nodeType":6423,"data":20180,"content":20181},{},[20182],{"nodeType":147,"value":20183,"marks":20184,"data":20185},"6 As Derrida would say, it is here that the letter reaches its destination and inscribed in the retroactive temporality of the ‘always already’. ",[],{},{"nodeType":143,"data":20187,"content":20188},{},[20189],{"nodeType":147,"value":219,"marks":20190,"data":20191},[],{},{"nodeType":6423,"data":20193,"content":20194},{},[20195],{"nodeType":147,"value":20196,"marks":20197,"data":20198},"7 Literally ‘love of fate’: radical acceptance of life – including its suffering and tragedy. ",[],{},{"nodeType":143,"data":20200,"content":20201},{},[20202],{"nodeType":147,"value":219,"marks":20203,"data":20204},[],{},{"nodeType":6423,"data":20206,"content":20207},{},[20208],{"nodeType":147,"value":20209,"marks":20210,"data":20211},"8 Referring in gamer code to the gold standard of high-definition, big-budget games. ",[],{},{"nodeType":143,"data":20213,"content":20214},{},[20215],{"nodeType":147,"value":219,"marks":20216,"data":20217},[],{},{"nodeType":6423,"data":20219,"content":20220},{},[20221],{"nodeType":147,"value":20222,"marks":20223,"data":20224},"9 A colloquial term for hardline leftists who uncritically defend state-communist regimes as anti-imperialist. The label originates from Western communists who supported the Soviet invasion of Hungary in 1956 – literally, those who backed the tanks ",[],{},{"nodeType":143,"data":20226,"content":20227},{},[20228],{"nodeType":147,"value":219,"marks":20229,"data":20230},[],{},{"nodeType":6423,"data":20232,"content":20233},{},[20234,20238,20242,20246,20251,20254,20261],{"nodeType":147,"value":20235,"marks":20236,"data":20237},"10 See ‘",[],{},{"nodeType":147,"value":19081,"marks":20239,"data":20241},[20240],{"type":808},{},{"nodeType":147,"value":20243,"marks":20244,"data":20245}," Review – ‘Largely Lacks Inclusion & Representation’, ",[],{},{"nodeType":147,"value":20247,"marks":20248,"data":20250},"ScreenRant",[20249],{"type":808},{},{"nodeType":147,"value":6131,"marks":20252,"data":20253},[],{},{"nodeType":865,"data":20255,"content":20257},{"uri":20256},"https:\u002F\u002Fscreenrant.com\u002Fblack-myth-wukong-review\u002F#largely-lacks-inclusion-amp-representation",[20258],{"nodeType":147,"value":20256,"marks":20259,"data":20260},[],{},{"nodeType":147,"value":219,"marks":20262,"data":20263},[],{},{"nodeType":143,"data":20265,"content":20266},{},[20267],{"nodeType":147,"value":219,"marks":20268,"data":20269},[],{},{"nodeType":6423,"data":20271,"content":20272},{},[20273,20277,20281,20285,20290,20293,20300],{"nodeType":147,"value":20274,"marks":20275,"data":20276},"11 See Rebekah Valentine and Khee Hoon Chan, ‘How ",[],{},{"nodeType":147,"value":19081,"marks":20278,"data":20280},[20279],{"type":808},{},{"nodeType":147,"value":20282,"marks":20283,"data":20284}," Developer’s History of Sexism Is Complicating Its Journey to the West’, ",[],{},{"nodeType":147,"value":20286,"marks":20287,"data":20289},"IGN",[20288],{"type":808},{},{"nodeType":147,"value":6131,"marks":20291,"data":20292},[],{},{"nodeType":865,"data":20294,"content":20296},{"uri":20295},"https:\u002F\u002Fwww.ign.com\u002Farticles\u002Fhow-black-myth-wukong-developers-history-of-sexism-is-complicating-its-journey-to-the-west",[20297],{"nodeType":147,"value":20295,"marks":20298,"data":20299},[],{},{"nodeType":147,"value":6556,"marks":20301,"data":20302},[],{},{"nodeType":143,"data":20304,"content":20305},{},[20306],{"nodeType":147,"value":219,"marks":20307,"data":20308},[],{},{"nodeType":6423,"data":20310,"content":20311},{},[20312],{"nodeType":147,"value":20313,"marks":20314,"data":20315},"12 Gnosis (Gr. gnōsis, “knowledge”): spiritual or intuitive insight; direct experiential knowledge of the divine. ",[],{},{"nodeType":143,"data":20317,"content":20318},{},[20319],{"nodeType":147,"value":219,"marks":20320,"data":20321},[],{},{"nodeType":6423,"data":20323,"content":20324},{},[20325],{"nodeType":147,"value":20326,"marks":20327,"data":20328},"13 Yaoguai ( 妖怪 ): ghosts or demons in Chinese folklore; shape-shifting spirits that disturb the natural order ",[],{},{"nodeType":143,"data":20330,"content":20331},{},[20332],{"nodeType":147,"value":219,"marks":20333,"data":20334},[],{},{"nodeType":6423,"data":20336,"content":20337},{},[20338],{"nodeType":147,"value":20339,"marks":20340,"data":20341},"14 Lacan’s psychoanalytic term for the ‘object-cause of desire’, the unattainable remainder that provokes longing rather than satisfying it. 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At the same time, games are being released at an unprecedented rate, with many a delayed consequence of pandemic-era investments, when lockdowns saw huge numbers turning to gaming, especially casual games with multiplayer features like Animal Crossing. The inevitable result is oversaturation: a market where countless titles are destined to fail. Debates in the gaming community about the best ‘bang for your buck’ end up squeezing indie developers that cannot afford to cut prices and sustain losses like major gaming corporations. It has become common for games to be delayed for years, overhauled midstream, or abandoned entirely as investment and funding dry up. 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Hero",[3545,6774,20869],"image 2 hide on mobile",{"metadata":20871,"sys":20874,"fields":20881},{"tags":20872,"concepts":20873},[],[],{"space":20875,"id":20877,"type":212,"createdAt":20878,"updatedAt":20878,"environment":20879,"publishedVersion":1123,"revision":216,"locale":31},{"sys":20876},{"type":14,"linkType":15,"id":16},"1Ig4oBOcQ7QPFogt1iHY7r","2026-04-01T14:50:16.840Z",{"sys":20880},{"id":23,"type":14,"linkType":24},{"title":20882,"file":20883},"page-097-left",{"url":20884,"details":20885,"fileName":20888,"contentType":228},"\u002F\u002Fimages.ctfassets.net\u002F2urh0izv0sep\u002F1Ig4oBOcQ7QPFogt1iHY7r\u002Fbdafccc43b93527714571fc9b95225ac\u002Fpage-097-left.png",{"size":20886,"image":20887},2416219,{"width":7311,"height":10222},"page-097-left.png",{"metadata":20890,"sys":20893,"fields":20900},{"tags":20891,"concepts":20892},[],[],{"space":20894,"id":20896,"type":212,"createdAt":20897,"updatedAt":20897,"environment":20898,"publishedVersion":1123,"revision":216,"locale":31},{"sys":20895},{"type":14,"linkType":15,"id":16},"3YjzOPbDyi0xf15zHSf0Fb","2026-04-01T14:51:14.107Z",{"sys":20899},{"id":23,"type":14,"linkType":24},{"title":20901,"description":219,"file":20902},"page-097",{"url":20903,"details":20904,"fileName":20908,"contentType":228},"\u002F\u002Fimages.ctfassets.net\u002F2urh0izv0sep\u002F3YjzOPbDyi0xf15zHSf0Fb\u002Ffdf122f41928fd5b64bd94956cfed5c8\u002Fpage-097.png",{"size":20905,"image":20906},4683429,{"width":20907,"height":10222},5434,"page-097.png",{"metadata":20910,"sys":20913,"fields":20920},{"tags":20911,"concepts":20912},[],[],{"space":20914,"id":20916,"type":212,"createdAt":20917,"updatedAt":20917,"environment":20918,"publishedVersion":1123,"revision":216,"locale":31},{"sys":20915},{"type":14,"linkType":15,"id":16},"xTTxV8plKTrAU6BSx1dpQ","2026-04-01T14:53:20.635Z",{"sys":20919},{"id":23,"type":14,"linkType":24},{"title":20921,"file":20922},"page-097-right",{"url":20923,"details":20924,"fileName":20927,"contentType":228},"\u002F\u002Fimages.ctfassets.net\u002F2urh0izv0sep\u002FxTTxV8plKTrAU6BSx1dpQ\u002F2905d02385a666baccd54ee0be4749ae\u002Fpage-097-right.png",{"size":20925,"image":20926},2404912,{"width":7311,"height":10222},"page-097-right.png",[20929],{"metadata":20930,"sys":20933,"fields":20943},{"tags":20931,"concepts":20932},[],[],{"space":20934,"id":20936,"type":18,"createdAt":20937,"updatedAt":20938,"environment":20939,"publishedVersion":679,"revision":1123,"contentType":20941,"locale":31},{"sys":20935},{"type":14,"linkType":15,"id":16},"51hETKhZMBFAqWU4Dieaio","2026-04-01T14:53:22.119Z","2026-05-06T08:52:16.910Z",{"sys":20940},{"id":23,"type":14,"linkType":24},{"sys":20942},{"type":14,"linkType":29,"id":3271},{"title":20944,"text":20945,"assetsOptions":21586},"Where Are Japan's Next Generation of Fashion Designers? Body text",{"nodeType":139,"data":20946,"content":20947},{},[20948,20955,20962,20977,20984,21000,21024,21052,21077,21084,21091,21098,21105,21112,21119,21126,21133,21140,21147,21162,21187,21194,21201,21208,21215,21222,21246,21253,21260,21267,21274,21297,21304,21320,21336,21343,21368,21393,21400,21423,21430,21455,21462,21469,21476,21491,21517,21533,21559,21566,21573,21580],{"nodeType":5812,"data":20949,"content":20950},{},[20951],{"nodeType":147,"value":20952,"marks":20953,"data":20954},"Once hailed for its radical reinventions, Japanese fashion is entering a moment of quiet transition. As its avant-garde icons pass the torch, a younger generation redefines how creativity from Japan circulates. Ashley Ogawa Clarke traces some of the schools, networks, and sensibilities making waves in this new era of design.",[],{},{"nodeType":143,"data":20956,"content":20957},{},[20958],{"nodeType":147,"value":20959,"marks":20960,"data":20961},"Japanese fashion, like much of its culture, is marked by paradox. The country has produced some of the greatest and most transformative fashion designers of all time, and yet the contemporary Japanese fashion œuvre – at least as it is understood by the rest of the world – remains relatively limited in scope. The inner workings of the industry in Japan, though unique and in many cases self-sufficient, have an insularity that renders it somewhat opaque to outsiders. The same few names dominate (and have done for decades), and there is little clarity on where things are going next.",[],{},{"nodeType":143,"data":20963,"content":20964},{},[20965,20969,20973],{"nodeType":147,"value":20966,"marks":20967,"data":20968},"To understand what makes the fashion that comes out of Japan interesting, it helps to look at it in relation and contrast to the West. Western clothing became the norm in Japan after the end of the second world war, as the country, recovering from historic defeat and an American occupation, moved forward. The kimono, whose use had been on a downward trajectory since the Meiji era (1868–1912) – when the Japanese sought to emulate Western dress, and later, actors in Hollywood – eventually fell out of favour after the war, and remains today as a ceremonial garment for special occasions. Dressmaking, meanwhile, also became a viable way for women and war widows to earn a living.",[],{},{"nodeType":147,"value":5866,"marks":20970,"data":20972},[20971],{"type":5869},{},{"nodeType":147,"value":20974,"marks":20975,"data":20976}," But without the legacy of couturiers to build on (Japan has no Dior, Chanel, Balenciaga et al., whose musical chairs of creative directors are hungrily watched by netizens, and who are still seen as the true leaders in the global fashion space), Japan's designers had some catching up to do.",[],{},{"nodeType":7417,"data":20978,"content":20979},{},[20980],{"nodeType":147,"value":20981,"marks":20982,"data":20983},"DUO OF REBELS",[],{},{"nodeType":143,"data":20985,"content":20986},{},[20987,20991,20996],{"nodeType":147,"value":20988,"marks":20989,"data":20990},"As anyone with even a passing interest in fashion now knows, they succeeded. Japanese designers have become some of the biggest names in international fashion, and the Paris Fashion Week schedule – still the core crucible of the industry – is consistently populated by Japanese names. But, much as it feels to be a foreigner in Japan, there is always the sense of a visiting outsider when Japan's designers bring their clothes to the West. Even the word for clothing in Japanese, ",[],{},{"nodeType":147,"value":20992,"marks":20993,"data":20995},"yōfuku",[20994],{"type":808},{},{"nodeType":147,"value":20997,"marks":20998,"data":20999},", translates to 'Western clothes'.",[],{},{"nodeType":143,"data":21001,"content":21002},{},[21003,21007,21011,21015,21020],{"nodeType":147,"value":21004,"marks":21005,"data":21006},"The short history of contemporary Japanese fashion (i.e. when Japanese designers first started making ",[],{},{"nodeType":147,"value":20992,"marks":21008,"data":21010},[21009],{"type":808},{},{"nodeType":147,"value":21012,"marks":21013,"data":21014},") is straightforward to recap. Japan's first wave of international designers managed to 'go global' in the latter half of the 20",[],{},{"nodeType":147,"value":21016,"marks":21017,"data":21019},"th",[21018],{"type":5869},{},{"nodeType":147,"value":21021,"marks":21022,"data":21023}," century. Hanae Mori became the first Japanese designer to show in New York in 1965. In the years following, Kenzo Takada and Kansai Yamamoto took their clothing to Paris and London respectively, closely tailed by Issey Miyake, who showed his collections in New York and then Paris. Before then, the idea of 'Japanese fashion', at least in the mindset of the average foreigner, meant little more than a kimono.",[],{},{"nodeType":143,"data":21025,"content":21026},{},[21027,21031,21036,21040,21044,21048],{"nodeType":147,"value":21028,"marks":21029,"data":21030},"The turning point happened in 1981, when Rei Kawakubo for her brand Comme des Garçons, and Yohji Yamamoto for his eponymous label, showed their clothing for the first time in Paris. A stark departure from the optimistic rainbows of clothing that Kenzo Takada had wooed the West with, this violently new duo of rebels sent dark deconstructed ",[],{},{"nodeType":147,"value":21032,"marks":21033,"data":21035},"boro",[21034],{"type":808},{},{"nodeType":147,"value":21037,"marks":21038,"data":21039}," rags down the runway. The Western fashion press, who were used to runway presentations that aimed at prettiness rather than subversion, caught a severe case of the vapours. Some problematically dubbed it 'Hiroshima's revenge'.",[],{},{"nodeType":147,"value":6015,"marks":21041,"data":21043},[21042],{"type":5869},{},{"nodeType":147,"value":21045,"marks":21046,"data":21047}," Decades later, these shows have become recognised as a seminal moment that irreversibly shifted our collective perception of what clothing could be, and forged an anti-fashion torch that would later be carried by a new generation of designers including Martin Margiela. As the curator Richard Martin wrote: 'It is impossible to describe and analyse late twentieth-century fashion in Europe and America without taking account of the substantive contribution of Japanese designers.'",[],{},{"nodeType":147,"value":6039,"marks":21049,"data":21051},[21050],{"type":5869},{},{"nodeType":3576,"data":21053,"content":21076},{"target":21054},{"metadata":21055,"sys":21058,"fields":21065},{"tags":21056,"concepts":21057},[],[],{"space":21059,"id":21061,"type":212,"createdAt":21062,"updatedAt":21062,"environment":21063,"publishedVersion":1123,"revision":216,"locale":31},{"sys":21060},{"type":14,"linkType":15,"id":16},"7jqrcpgEYSCaRlHdimf7kA","2026-04-01T14:53:01.483Z",{"sys":21064},{"id":23,"type":14,"linkType":24},{"title":21066,"description":21067,"file":21068},"CONG002-Where-Are-Japans-Next-Generation-of-Fashion-Designers-images-202","Spring\u002FSummer 2026 collection by FETICO",{"url":21069,"details":21070,"fileName":21075,"contentType":228},"\u002F\u002Fimages.ctfassets.net\u002F2urh0izv0sep\u002F7jqrcpgEYSCaRlHdimf7kA\u002F41b113eee01088a6201cab8ec9dd2463\u002FCONG002-Where-Are-Japans-Next-Generation-of-Fashion-Designers-images-202.png",{"size":21071,"image":21072},519024,{"width":21073,"height":21074},567,795,"CONG002-Where-Are-Japans-Next-Generation-of-Fashion-Designers-images-202.png",[],{"nodeType":143,"data":21078,"content":21079},{},[21080],{"nodeType":147,"value":21081,"marks":21082,"data":21083},"In the years since, Japanese fashion has become shorthand for cerebral clothing, adopted by creative types and freethinkers. But the profundity of Kawakubo and Yamamoto's conceptual garments, and the intensity of the response that they received for them, have left long shadows. Both designers are treated with the reverence of deities – or at least the founders of an über-fashionable religion where underlings don their designs like liturgical garments. Both are now in their 80s and still working and designing; we can assume they will do so until they are no longer able.",[],{},{"nodeType":143,"data":21085,"content":21086},{},[21087],{"nodeType":147,"value":21088,"marks":21089,"data":21090},"In the Western mindset, the territory for Japanese high fashion has been colonised by the extraordinary, fashion-defying shapes with which Kawakubo has populated her runways. But there is a sharp commercial aspect to the work. Her Dover Street Market empire, which operates department stores in London, New York, Ginza, Los Angeles, Beijing, and most recently Paris, stocks hundreds of brands from around the world, and has become a mecca for fashion fans who appreciate thoughtful clothes that will set them apart from the masses. And the brand's many diffusion lines, most notably the hype-worthy heart-logo PLAY, which appears on striped T-shirts and simple sneakers, has helped the brand through the many peaks and troughs of the market.",[],{},{"nodeType":143,"data":21092,"content":21093},{},[21094],{"nodeType":147,"value":21095,"marks":21096,"data":21097},"As well as an unlikely force in retail, the Comme des Garçons label also serves as a fertile training ground, from which a cottage industry of designers has sprouted: Junya Watanabe (Junya Watanabe), Kei Ninomiya (Noir by Kei Ninomiya), and the lesser-known Tao Kurihara (Tao) all operate under the Comme des Garçons umbrella, and each have risen the ranks to their current positions from within the business. Other Comme alumni have struck out on their own, with varying degrees of success (Fumito Ganryu is so far the most prominent). Curiously, though these designers have their own visual language, they remain unmistakably 'Comme' in sensibility, whether because of the silhouettes or fabrics they gravitate towards, or even through an intangible vibe. Like branches of a religion, these designers may deviate from and build upon the main tenets of the brand, but the source material remains the same.",[],{},{"nodeType":143,"data":21099,"content":21100},{},[21101],{"nodeType":147,"value":21102,"marks":21103,"data":21104},"This also brings to light the potency of Kawakubo's design language. Indeed, it is one of the most wondered-about questions in fashion what will happen to the Comme empire when its laconic matriarch finally steps down. Word on the street is that Kawakubo wants her label to die with her, but exactly what kind of handover will take place is unclear. All that power and influence, however, will have to go somewhere.",[],{},{"nodeType":143,"data":21106,"content":21107},{},[21108],{"nodeType":147,"value":21109,"marks":21110,"data":21111},"The combined success of Comme des Garçons, Yohji Yamamoto, and Issey Miyake, stretched out over the past four decades, has had a halo effect on contemporary Japanese fashion while also becoming the albatross around its neck. How could this sheer tirelessness and enormity of influence not stymie the global emergence of subsequent star Japanese designers, especially when two of its greatest exports remain incumbent in their positions? For the many who have come in their wake since, the act has been tough to follow.",[],{},{"nodeType":7417,"data":21113,"content":21114},{},[21115],{"nodeType":147,"value":21116,"marks":21117,"data":21118},"THE SHIFT",[],{},{"nodeType":143,"data":21120,"content":21121},{},[21122],{"nodeType":147,"value":21123,"marks":21124,"data":21125},"A slow shift of power from the big names is already underway behind the scenes. As well as the aforementioned names that have graduated from within the Comme stable, the industry is filled with other, relatively unknown designers who have trained at Japan’s biggest houses. The late Issey Miyake passed on creative control of his brand to the 41-year-old Satoshi Kondo, who is so far leading the brand with tenacity and verve. Tens of other designers who have worked at the household names have gone on to start their own brands, too. It is unclear as yet which of them will manage to grow their own labels in that capacity that their predecessors have, but we can assume that a handful of them will eventually rise to relevance. ",[],{},{"nodeType":143,"data":21127,"content":21128},{},[21129],{"nodeType":147,"value":21130,"marks":21131,"data":21132},"The Paris schedule is already dominated by names that, though they are not yet as big as others, are still revered by the fashion press. Sacai by Chitose Abe and Undercover by Jun Takahashi are the two biggest names that have broken through since, along with Nigo, the streetwear designer and creator of A Bathing Ape (BAPE) who was hired to head up KENZO in 2021. Further down the ladder is Mame Kurogouchi, a womenswear designer who makes craft-heavy clothing, and ANREALAGE by Kunihiko Morinaga, who puts on astounding runway presentations that incorporate pioneering technology such as air-conditioned jackets and robotic dresses that seem to move on their own. Both brands are visually interesting, but it is questionable whether they are commercially viable, especially outside of Japan. ",[],{},{"nodeType":143,"data":21134,"content":21135},{},[21136],{"nodeType":147,"value":21137,"marks":21138,"data":21139},"Interestingly, the next wave of Japanese fashion appears to be more sales-focused: the most recent breakthroughs are CFCL and Auralee, both of whom have built formidable commercial businesses over the last few years and now show in Paris. Their minimal, textile-focused clothing is already shaping the current era of Japanese fashion. ",[],{},{"nodeType":7417,"data":21141,"content":21142},{},[21143],{"nodeType":147,"value":21144,"marks":21145,"data":21146},"STRENGTHS & WEAKNESSES ",[],{},{"nodeType":143,"data":21148,"content":21149},{},[21150,21154,21158],{"nodeType":147,"value":21151,"marks":21152,"data":21153},"Back in Japan, the biggest platform for designers to show their work is Tokyo Fashion Week, which in its current official capacity under the Japan Fashion Week Organisation (JFWO) has been going for twenty years. A domestic showcase that has largely remained insular over these two decades, only a handful of foreign press and buyers attend each season – though this is gradually changing as organisers look to grow the week’s appeal.",[],{},{"nodeType":147,"value":6183,"marks":21155,"data":21157},[21156],{"type":5869},{},{"nodeType":147,"value":21159,"marks":21160,"data":21161}," If Japan’s designers wish to grow more quickly and fulfil their potential, however, they must look abroad. ",[],{},{"nodeType":3576,"data":21163,"content":21186},{"target":21164},{"metadata":21165,"sys":21168,"fields":21175},{"tags":21166,"concepts":21167},[],[],{"space":21169,"id":21171,"type":212,"createdAt":21172,"updatedAt":21172,"environment":21173,"publishedVersion":1123,"revision":216,"locale":31},{"sys":21170},{"type":14,"linkType":15,"id":16},"1B5z57csqvUhW8vAfAnzH8","2026-04-01T14:50:12.040Z",{"sys":21174},{"id":23,"type":14,"linkType":24},{"title":21176,"description":21177,"file":21178},"CONG002-Where-Are-Japans-Next-Generation-of-Fashion-Designers-images-203","Spring\u002FSummer 2026 by AURALEE",{"url":21179,"details":21180,"fileName":21185,"contentType":228},"\u002F\u002Fimages.ctfassets.net\u002F2urh0izv0sep\u002F1B5z57csqvUhW8vAfAnzH8\u002F0bc3970804027943f68292aa7268bf90\u002FCONG002-Where-Are-Japans-Next-Generation-of-Fashion-Designers-images-203.png",{"size":21181,"image":21182},740493,{"width":21183,"height":21184},643,962,"CONG002-Where-Are-Japans-Next-Generation-of-Fashion-Designers-images-203.png",[],{"nodeType":143,"data":21188,"content":21189},{},[21190],{"nodeType":147,"value":21191,"marks":21192,"data":21193},"In this regard, Japanese designers are plagued by disadvantages. In recent years, the weak yen has made it difficult for Japanese designers to make headway in Western markets, with the cost of travel, showrooms, and runway presentations an unrealistic expense for emerging designers. When Japanese designers do begin selling abroad, they usually do so in Hong Kong or Seoul. Rare is the Tokyo brand that is able to land an account in New York; rarer still is one that has buyers in Paris. Sizing plays into this too: Japanese sizes are generally smaller in order to work for the domestic market, and many designers have less experience with dressing the diversity of bodies that are commonplace in the West. ",[],{},{"nodeType":143,"data":21195,"content":21196},{},[21197],{"nodeType":147,"value":21198,"marks":21199,"data":21200},"Perhaps the most frustrating and chronic problem, however, is the language barrier. The lack of English fluency among Japan’s fashion designers has no doubt worked against them, and presents significant issues that can obfuscate world-building and slow down logistics. There has also never been a Japanese designer heading up a European fashion house (not counting KENZO, which is now owned by LVMH). ",[],{},{"nodeType":143,"data":21202,"content":21203},{},[21204],{"nodeType":147,"value":21205,"marks":21206,"data":21207},"Yet this distance in communication also serves to deepen the curiosity that surrounds Japanese fashion designers, in a way that has sustained since they first came onto the international scene. ‘Probably it is the comprehension gap that makes Yohji Yamamoto so philosophical,’ wrote Nicholas Coleridge when he first met the then-45-year-old designer in Tokyo. Little has changed since – a large majority of designers in Japan still do not speak enough English to sufficiently communicate the depth of their work to an international audience, and must rely on translators, expensive international PR and, increasingly, artificial intelligence, to help them get their point across. ",[],{},{"nodeType":143,"data":21209,"content":21210},{},[21211],{"nodeType":147,"value":21212,"marks":21213,"data":21214},"There are clearer-cut advantages that Japanese designers enjoy. High among them is the wealth of factories that are known for their artisanship and superior production quality that Japanese designers have on their doorstep, the proximity of which makes domestic manufacturing exponentially easier and more affordable than it is in the nations of other major fashion hubs (where much is increasingly outsourced to cheaper nations, even among leading luxury brands). With some exceptions, this also means Japanese designers do not have to think as hard about sustainability; instead it is something that is built organically into many of their brands because of how locally they produce and sell. Many source deadstock fabrics from Japanese factories that they adapt into new clothing. ",[],{},{"nodeType":143,"data":21216,"content":21217},{},[21218],{"nodeType":147,"value":21219,"marks":21220,"data":21221},"Also on their side is the country’s remarkable retail landscape, which is filled with endless experimental boutiques, glossy department stores and expertly curated select shops, and is vibrant enough to make shopping in New York, Paris and London look barren. Here, clothing racks at stores even far outside of Tokyo are rich with exciting fashion that to a fashion-conscious shopper feels like a treasure trove. This is a blessing for Japan’s homegrown designers, who can expect domestic buyers to pick up – with increasing frequency due to the weak yen (which frees up their budgets from increasingly overpriced Western brands) – their most outlandish creations. Japanese fashion shoppers, known for their discernment, adventurousness, and fastidious knowledge, are still the driving forces behind many of the country's (and the world’s) most obscure labels. If a fashion brand is doing something truly interesting, you can bet that it will have stockists in Japan before anywhere else. ",[],{},{"nodeType":3576,"data":21223,"content":21245},{"target":21224},{"metadata":21225,"sys":21228,"fields":21235},{"tags":21226,"concepts":21227},[],[],{"space":21229,"id":21231,"type":212,"createdAt":21232,"updatedAt":21232,"environment":21233,"publishedVersion":1123,"revision":216,"locale":31},{"sys":21230},{"type":14,"linkType":15,"id":16},"32yalTJpllikOue3JrXku7","2026-04-01T14:50:59.313Z",{"sys":21234},{"id":23,"type":14,"linkType":24},{"title":21236,"description":21067,"file":21237},"CONG002-Where-Are-Japans-Next-Generation-of-Fashion-Designers-images-204",{"url":21238,"details":21239,"fileName":21244,"contentType":228},"\u002F\u002Fimages.ctfassets.net\u002F2urh0izv0sep\u002F32yalTJpllikOue3JrXku7\u002F6985ba148eb07ff8698d8f43094933a4\u002FCONG002-Where-Are-Japans-Next-Generation-of-Fashion-Designers-images-204.png",{"size":21240,"image":21241},768622,{"width":21242,"height":21243},723,941,"CONG002-Where-Are-Japans-Next-Generation-of-Fashion-Designers-images-204.png",[],{"nodeType":7417,"data":21247,"content":21248},{},[21249],{"nodeType":147,"value":21250,"marks":21251,"data":21252},"THE WOMENSWEAR & MENSWEAR SPLIT ",[],{},{"nodeType":143,"data":21254,"content":21255},{},[21256],{"nodeType":147,"value":21257,"marks":21258,"data":21259},"Styling in Japan is defined by layering and ornamentation that can seem excessive to those unaccustomed. Frills and lace are common for women, and it is not unusual to see vest tops worn over dresses or skirts over trousers. While this can make Japanese fashion appear outré (see the street style that was documented in the 1990s in magazines such as FRUiTS) fashion in Japan remains relatively conservative when it comes to more conventional notions of sexuality. ",[],{},{"nodeType":143,"data":21261,"content":21262},{},[21263],{"nodeType":147,"value":21264,"marks":21265,"data":21266},"Indeed, Japanese womenswear is worlds apart from the tits-and-teeth Kardashian version of femininity that has blossomed in the 21st Century from Los Angeles to Essex. Blouses or dresses that show off cleavage are vanishingly rare to see publicly in Japan, and the silhouette in the street is A-line and sack-like rather than body-conscious. ",[],{},{"nodeType":143,"data":21268,"content":21269},{},[21270],{"nodeType":147,"value":21271,"marks":21272,"data":21273},"A new wave of upcoming designers is attempting to play with genre and gender, however. Fetico, a brand by Emi Funayama incorporates lingerie-like details into its gothic womenswear (the brand takes its name from a play on ‘fetish girl’, which was Funayama’s nickname at fashion school). Harunobu Murata, a designer who worked at Jil Sander in Milan before returning to Japan to launch his own label, also does well with his own high-minded elegant womenswear, popular among his social circle of Japanese actresses. Both brands are doing well in Japan and are thus ready to expand their business. Funayama is currently trying to sell abroad in Western markets, but she has an uphill battle to convince European or American department stores that her vision of sex can sell as well in their markets as it does in her own. A sternum-flashing blouse might seem revolutionary in Osaka or Sapporo; in London it’s just another day at the office. ",[],{},{"nodeType":143,"data":21275,"content":21276},{},[21277,21281,21285,21289,21293],{"nodeType":147,"value":21278,"marks":21279,"data":21280},"Men’s clothing is another story. While the growth of Japan’s womenswear has been hobbled by past glory, its menswear has thrived. Menswear in the cultural sense – that is, as a global community – rallies around Japanese designers more than any other. Both because of artisanship (see the famously superior denim production in Kojima),",[],{},{"nodeType":147,"value":6208,"marks":21282,"data":21284},[21283],{"type":5869},{},{"nodeType":147,"value":21286,"marks":21287,"data":21288}," and hype (see the Ura-Harajuku scene in the 1990s that birthed – or was birthed by – designers like Nigo and Hiroshi Fujiwara),",[],{},{"nodeType":147,"value":6240,"marks":21290,"data":21292},[21291],{"type":5869},{},{"nodeType":147,"value":21294,"marks":21295,"data":21296}," Japanese menswear is filled with much to obsess over. The streetwear boom in the 2010s also owed much to Japan, and coincided with the hype cultivated by artists like Takashi Murakami and Yayoi Kusama, whose recognisable aesthetics were quickly vacuumed up by luxury brands into commercial collaborations. ",[],{},{"nodeType":143,"data":21298,"content":21299},{},[21300],{"nodeType":147,"value":21301,"marks":21302,"data":21303},"In recent years, however, the relationship between hype and craft have blurred into something more amorphous. The Auralee show during Paris Men’s Fashion Week has become one of the hottest tickets of the week, swarmed by the New York and European media elite, who showed up in droves to see what designer Ryota Iwai will put on the runway next. Iwai, a stringy and kindly man in his 40s, has built a robust business by focusing on quality fabrics in relaxed silhouettes and a charming, light-filled colour palette of buttercreams, pistachio, sky blue and postbox red. Whether or not these very minimal clothes need a runway show to communicate their appeal seems to be beside the point. Wearing or knowing about them signals that you are part of a community that appreciates good fashion. ",[],{},{"nodeType":143,"data":21305,"content":21306},{},[21307,21311,21316],{"nodeType":147,"value":21308,"marks":21309,"data":21310},"Around Auralee, which was founded in 2015 – and the not dissimilar but slightly moodier Comoli, founded a year earlier – has emerged a cottage industry of similarly tasteful menswear brands. A. Presse, Yoke, Irenisa, Cottle and Stein (ssstein) are just five examples that focus on fabrication, and which are increasingly building a consumer base outside of Japan whether through runway shows or because of their positioning in agenda-setting boutiques. All of these brands operate in the realm of ",[],{},{"nodeType":147,"value":21312,"marks":21313,"data":21315},"riaru kurōzu",[21314],{"type":808},{},{"nodeType":147,"value":21317,"marks":21318,"data":21319}," (リアルクローズ, ‘real clothes’), the neat Japanese term for garments that are realistic and not too challenging to wear. And while these real clothes are often expertly made and pleasing to the eye, a canvas jacket or pair of tailored trousers from any of these brands would be tough to distinguish in a line-up. ",[],{},{"nodeType":143,"data":21321,"content":21322},{},[21323,21327,21332],{"nodeType":147,"value":21324,"marks":21325,"data":21326},"These brands’ lack of aesthetic directionality is, in the context of their success in the modern menswear sphere, irrelevant. Especially so for their fans abroad, the broad appeal of these clothes, as well as their relaxed silhouettes and quality handfeel, crystallises into something more akin to social currency: an Auralee shirt is not only something well-made that will look pleasant to wear, but is also something that can be dropped casually into conversation. The viral ‘Thing, Japan’ meme – in which two identical objects of attention receive a much better response when they are Japanese – applies to clothing as much as anything. The fashion clout from these quieter brands doesn’t lie in visual impact, but in an if-you-know-you-know sense of cool that, especially in the digital age where information is disseminated globally across the same channels, signals you are part of an in-the-know community. And in the one-upmanship of contemporary menswear, comparing cotton shirts or twill cargo pants is like Patrick Bateman comparing business cards in ",[],{},{"nodeType":147,"value":21328,"marks":21329,"data":21331},"American Psycho",[21330],{"type":808},{},{"nodeType":147,"value":21333,"marks":21334,"data":21335},". There is no response to ‘Nice shirt, where’d you get it?’ that will coax a bead of sweat out of your rival’s brow better than ‘Thanks, it’s from Japan.’ ",[],{},{"nodeType":7417,"data":21337,"content":21338},{},[21339],{"nodeType":147,"value":21340,"marks":21341,"data":21342},"WHERE TO NEXT? ",[],{},{"nodeType":143,"data":21344,"content":21345},{},[21346,21350,21355,21359,21364],{"nodeType":147,"value":21347,"marks":21348,"data":21349},"When designer Yoshikazu Yamagata returned to Japan after graduating from Central Saint Martins and a spell assisting John Galliano in the mid-2000s, he quickly found that his native country lacked the creative freedom that is encouraged and cultivated in European schools. The big fashion education establishments in Tokyo, Bunka Fashion College and ESMOD, are known for teaching budding designers practical skills on how to make clothing. This is good for getting a job, but facilitates little of the wild experimentation that would-be creative directors benefit from in places like CSM, Antwerp, or Parsons. Thus Yamagata founded Coconogacco, a Tokyo-based school that runs on evenings and weekends to facilitate an environment for designers and creatives (the school is not limited to fashion) to tease out what lies beneath: not so much as what they want to ",[],{},{"nodeType":147,"value":21351,"marks":21352,"data":21354},"do",[21353],{"type":808},{},{"nodeType":147,"value":21356,"marks":21357,"data":21358}," but what they want to ",[],{},{"nodeType":147,"value":21360,"marks":21361,"data":21363},"say",[21362],{"type":808},{},{"nodeType":147,"value":21365,"marks":21366,"data":21367},". Instead of trying to emulate somebody else, students are encouraged to reach within to understand what makes them individual, whether that might be a simple personality quirk, an embarrassing hobby, or even childhood trauma, turning the creation process into a form of catharsis. Each year the school holds an exhibition in Fujiyoshida, a small town in the shadow of Mount Fuji, where students show all manner of their weird and wonderful ideas not aimed at doing business, but at pure creative freedom. ",[],{},{"nodeType":3576,"data":21369,"content":21392},{"target":21370},{"metadata":21371,"sys":21374,"fields":21381},{"tags":21372,"concepts":21373},[],[],{"space":21375,"id":21377,"type":212,"createdAt":21378,"updatedAt":21378,"environment":21379,"publishedVersion":1123,"revision":216,"locale":31},{"sys":21376},{"type":14,"linkType":15,"id":16},"1AUBYtdkyIWBcrTLM7ikma","2026-04-01T14:50:07.034Z",{"sys":21380},{"id":23,"type":14,"linkType":24},{"title":21382,"description":21383,"file":21384},"CONG002-Where-Are-Japans-Next-Generation-of-Fashion-Designers-images-206","Yoshikazu Yamagata, at Coconagacco",{"url":21385,"details":21386,"fileName":21391,"contentType":228},"\u002F\u002Fimages.ctfassets.net\u002F2urh0izv0sep\u002F1AUBYtdkyIWBcrTLM7ikma\u002F3eeb5e204f0a6d6689ff7df92bc69bdd\u002FCONG002-Where-Are-Japans-Next-Generation-of-Fashion-Designers-images-206.png",{"size":21387,"image":21388},1252592,{"width":21389,"height":21390},800,1196,"CONG002-Where-Are-Japans-Next-Generation-of-Fashion-Designers-images-206.png",[],{"nodeType":143,"data":21394,"content":21395},{},[21396],{"nodeType":147,"value":21397,"marks":21398,"data":21399},"The efficacy of this freedom that Yamagata has encouraged among his students is now coming to light: in the years since its inception, many of the designers behind the Japanese fashion scene’s most notable new brands, such as Soshiotsuki (by Soshi Otsuki), Akikoaoki (by Akiko Aoki), Pillings (by Ryota Murakami), and Keisukeyoshida (by Keisuke Yoshida) have come up through Coconogacco, and through various roots have each made sustainable if small businesses. Though there is little that unites their visual output, each designer has a strong sense of identity (and by extension a ‘brand identity’) that they can at least in part thank Coconogacco for refining. All of these graduates have maintained relationships with the school to varying degrees over the years, with many teaching current students, and in this way, a powerful community has been built. If Japan’s next star designer comes from anywhere, Coconogacco will likely have something to do with it. ",[],{},{"nodeType":143,"data":21401,"content":21402},{},[21403,21407,21412,21415,21419],{"nodeType":147,"value":21404,"marks":21405,"data":21406},"As well as schools that nurture emerging talent, other benefactors have also stepped in to help newer brands thrive. Mihara Yasuhiro, a 53-year-old who is known for his shoes that look like melted Converse Chuck Taylors, recently invested in Kamiya and Keisuke Yoshida, two brands by emerging designers in their 30s. The Sazaby League, a company which operates Ron Herman in Japan, recently invested in Pillings. And Mikio Sakabe, a contemporary and collaborator of Coconogacco’s Yamagata, began his own fashion academy, ME School, in 2019, and invests in designers through his Three Treasures initiative, which has a store space in Harajuku. For younger designers, this tangible support from the ",[],{},{"nodeType":147,"value":21408,"marks":21409,"data":21411},"senpai",[21410],{"type":808},{},{"nodeType":147,"value":6213,"marks":21413,"data":21414},[],{},{"nodeType":147,"value":6306,"marks":21416,"data":21418},[21417],{"type":5869},{},{"nodeType":147,"value":21420,"marks":21421,"data":21422}," generation is invaluable; it helps them secure PR, amp up production, and increase visibility. ",[],{},{"nodeType":143,"data":21424,"content":21425},{},[21426],{"nodeType":147,"value":21427,"marks":21428,"data":21429},"The aforementioned Pillings is one of the more revolutionary names emerging from Tokyo in recent seasons. Its designer, Ryota Murakami, who was shortlisted for this year’s LVMH Prize alongside the aforementioned winner Otsuki (also one of his peers at Coconogacco), has aspirations to show his off-kilter knitwear in Paris. JFWO, meanwhile, is working to get more Japanese designers in front of press and buyers in Europe by partnering with Pitti Uomo in order to facilitate cross-pollination of its designers at the Italian event, as well as through multiple prizes that allow designers to take their collections to showrooms in Paris. ",[],{},{"nodeType":3576,"data":21431,"content":21454},{"target":21432},{"metadata":21433,"sys":21436,"fields":21443},{"tags":21434,"concepts":21435},[],[],{"space":21437,"id":21439,"type":212,"createdAt":21440,"updatedAt":21440,"environment":21441,"publishedVersion":1123,"revision":216,"locale":31},{"sys":21438},{"type":14,"linkType":15,"id":16},"L3tthuuVgIRpJO1abEbp0","2026-04-01T14:53:11.110Z",{"sys":21442},{"id":23,"type":14,"linkType":24},{"title":21444,"description":21445,"file":21446},"CONG002-Where-Are-Japans-Next-Generation-of-Fashion-Designers-images-205","With Samoari, Soshi Otsuki, Shingo Emoto, and Yoshikazu Yamagata, among others, at Coconagacco",{"url":21447,"details":21448,"fileName":21453,"contentType":228},"\u002F\u002Fimages.ctfassets.net\u002F2urh0izv0sep\u002FL3tthuuVgIRpJO1abEbp0\u002F463925728f2b87bd2f742944ff35b0c7\u002FCONG002-Where-Are-Japans-Next-Generation-of-Fashion-Designers-images-205.png",{"size":21449,"image":21450},3222982,{"width":21451,"height":21452},1963,1257,"CONG002-Where-Are-Japans-Next-Generation-of-Fashion-Designers-images-205.png",[],{"nodeType":143,"data":21456,"content":21457},{},[21458],{"nodeType":147,"value":21459,"marks":21460,"data":21461},"Another path to visibility is through international prizes. Japanese designers have also been big winners of the LVMH Prize, regarded as the buzziest prize in the industry with the top accolade amounting to 400,000 euros and mentoring from LVMH. In 2019, Doublet’s Masayuki Ino became the first Japanese designer to take the prize for his comedy-inspired collections; he was followed by Setchu’s craft-focused Satoshi Kuwata in 2023. The most recent winner is the aforementioned Soshi Otsuki, who this year won the judges over for his suiting that, curiously, plays on the tension between the adoration Japanese salarymen had for Made in Italy suits in the bubble era in Japan’s Showa period. (Otsuki subverts this adoration for Western fashion with a Made in Japan philosophy, repurposing kimono silks into shirts and tailoring jackets and trousers to resemble judo uniforms.) These prizes come with the expectation of international expansion: Doublet shows on the Paris schedule, and Setchu has begun showing at Pitti Uomo. ",[],{},{"nodeType":143,"data":21463,"content":21464},{},[21465],{"nodeType":147,"value":21466,"marks":21467,"data":21468},"After years of stagnation in terms of international clout for new Japanese designers, we are now at a point where many of the names mentioned throughout this essay are evolving from small homegrown labels into something with more global potential. Can this new generation thrive in an increasingly frenetic industry? Their ability to break through the noise – and therefore define the next generation of Japanese fashion on the international stage – will depend on whether or not they can tell their stories through their clothes in a way that charms and captivates. True or full comprehension of what they are trying to say can of course come later. That is, if it needs to come at all – for some, the distinct, delicious self-contained sensibility of Japanese fashion is and will remain an inextricable part of its magnetism. The coolest fashion designer, after all, is the one you haven’t yet heard about. ",[],{},{"nodeType":143,"data":21470,"content":21471},{},[21472],{"nodeType":147,"value":219,"marks":21473,"data":21475},[21474],{"type":290},{},{"nodeType":6423,"data":21477,"content":21478},{},[21479,21482,21487],{"nodeType":147,"value":7524,"marks":21480,"data":21481},[],{},{"nodeType":147,"value":21483,"marks":21484,"data":21486},"Fashion in Japan",[21485],{"type":808},{},{"nodeType":147,"value":21488,"marks":21489,"data":21490}," 1945-2020, ed. The National Art Center, Tokyo, and The Iwami Art Museum (Tokyo: The National Art Center, Tokyo, 2020), 15.",[],{},{"nodeType":6423,"data":21492,"content":21493},{},[21494,21498,21503,21507,21514],{"nodeType":147,"value":21495,"marks":21496,"data":21497},"2 Judith Thurman, \"The Misfit: Rei Kawakubo Is a Japanese Avant-Gardist of Few Words, and She Changed Women's Fashion,\" ",[],{},{"nodeType":147,"value":21499,"marks":21500,"data":21502},"The New Yorker",[21501],{"type":808},{},{"nodeType":147,"value":21504,"marks":21505,"data":21506},", July 4 2005, ",[],{},{"nodeType":865,"data":21508,"content":21510},{"uri":21509},"https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2005\u002F07\u002F04\u002Fthe-misfit",[21511],{"nodeType":147,"value":21509,"marks":21512,"data":21513},[],{},{"nodeType":147,"value":219,"marks":21515,"data":21516},[],{},{"nodeType":6423,"data":21518,"content":21519},{},[21520,21524,21529],{"nodeType":147,"value":21521,"marks":21522,"data":21523},"3 Richard Martin and Harold Koda, ",[],{},{"nodeType":147,"value":21525,"marks":21526,"data":21528},"Haute Couture",[21527],{"type":808},{},{"nodeType":147,"value":21530,"marks":21531,"data":21532}," (New York: The Metropolitan Museum of Art \u002F Abrams, 1995), 215.",[],{},{"nodeType":6423,"data":21534,"content":21535},{},[21536,21540,21545,21549,21556],{"nodeType":147,"value":21537,"marks":21538,"data":21539},"4 Ashley Ogawa Clarke, \"5 Key Takeaways from Tokyo Fashion Week AW25,\" ",[],{},{"nodeType":147,"value":21541,"marks":21542,"data":21544},"Vogue Business",[21543],{"type":808},{},{"nodeType":147,"value":21546,"marks":21547,"data":21548},", March 24, 2025, ",[],{},{"nodeType":865,"data":21550,"content":21552},{"uri":21551},"https:\u002F\u002Fwww.voguebusiness.com\u002Fstory\u002Ffashion\u002F5-key-takeaways-from-tokyo-fashion-week-aw25",[21553],{"nodeType":147,"value":21551,"marks":21554,"data":21555},[],{},{"nodeType":147,"value":219,"marks":21557,"data":21558},[],{},{"nodeType":6423,"data":21560,"content":21561},{},[21562],{"nodeType":147,"value":21563,"marks":21564,"data":21565},"5 Kojima is known as the birthplace of Japanese denim, a reputation it has earned through its history of textile production.",[],{},{"nodeType":6423,"data":21567,"content":21568},{},[21569],{"nodeType":147,"value":21570,"marks":21571,"data":21572},"6 Ura-Hara refers to the backstreets of Harajuku, where many of Japan's streetwear designers began selling their clothes.",[],{},{"nodeType":6423,"data":21574,"content":21575},{},[21576],{"nodeType":147,"value":21577,"marks":21578,"data":21579},"7 Senpai is the Japanese word for 'senior', usually used to refer to colleagues with more experience than the 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