Base Station of Wind and Technoesis Vagus

In Base Station of Wind and Technoesis Vagus, artist Jansword Zhu performs as a dying astronaut, emerging from the sea onto the shore, where he encounters a wind-powered installation—a hybrid form between an ancient zither and a futuristic communication base station. This structure, animated by the breath of nature, marks the liminal space between organic memory and technological transmission.
The astronaut finds a computer—first a symbol of hope, direction, and flight. Yet as the performance unfolds, the machine turns volatile, its guidance giving way to control, then chaos. In a visceral climax, the artist physically tears apart the computer, embodying a desperate rebellion of flesh against circuitry, of human will against techno-authoritarian drift. Exhausted, the astronaut collapses back into the sea, suggesting not an end, but a haunting loop.
The work is a posthuman parable—a meditation on the dissonance between embodied presence and the spectral force of technology. The wind keeps blowing. The base station hums on. And we, caught in its field, remain unfinished.

在作品《风之基站与技术迷走》中，艺术家朱剑辰化身为一位濒死的“宇航员”，从海中挣扎而出，走向由风力驱动的“风之古琴”装置。这一临时构筑物既似远古乐器，又似未来通讯基站，象征人类在信息与自然之间的边界。宇航员在装置旁拾起一台“电脑”，原本象征引导与飞翔的科技工具，逐步异化为控制与失控的力量。在风的持续作用下，这场人与技术的共舞最终演变为激烈的对抗，艺术家以肉身撕裂电脑，也象征自我意识对技术霸权的最后反扑。作品以艺术家倒回海中作为结尾，留下一种循环未止、警觉未尽的余音。

这是一个关于技术异化、肉身存在与后人类精神焦虑的寓言——风仍在吹动，基站仍在运作，而我们正置身其间。