The video installation uses E-ink displays to present a dynamic field generated through particle-rendering technology, directing the viewer’s attention toward the medium’s self-reflexive possibilities. In the digital age, the particle—the smallest structural unit of matter—plays a dual role: it serves as a technical element in software algorithms while also symbolizing the fundamental components of the natural world. Through this text transformation, the medium instead overcomes its transparency and invisibility, revealing its own material conditions and limitations. The slow refresh rate, two-tone imaging, and residual shadows of the display constitute a material response to digital culture’s obsession with clarity and immediacy. The binary contrast of black and white evokes the historical memory of printmaking. At the same time, the delays and imperfections in the image reveal traces of temporality, reflecting on the self-awareness and constraints of the media itself.

Inspired by the poetry of the British Romantic poet William Wordsworth, the artist uses the self-developed AI module Jiayu* to generate sixteen new poems. The model is trained on information and sequential frames from the artist’s previous works. Within the model’s latent space, the poems are reconstructed and mapped, existing in a state between meaning and its loss, under new technological conditions. The work questions whether, in the age of machine intelligence, the organization of meaning within algorithmic systems can still be embedded, sustained, fractured, or perhaps reborn in its own cartography of language and perception.

At the same time, the installation includes an Atlas of Verses. The artist extracts the vector coordinates of each AI-generated poem within the neural network. These numerical points, floating in the latent semantic space, are visualized as a "topography of language," transforming linguistic structures into a spatial and perceptual landscape.

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