Re-examining Humanity: Integrating Tibetan Buddhism, Daoism, Posthumanism, and Feminism Through Art

Table of Contents

1. Introduction

2. Research Questions

3. Theoretical Framework and Literature Review

   1. Religious and Ideologies Study: Tibetan Buddhism and Daoism

   2. Posthumanism Theory

   3. Philosophical Inquiries

      1. Desire

      2. Morality 

      3. Governance

   4. Psychological Theories

      1. Criminal Psychology

      2. Personality Psychology

      3. Cognitive Psychology

      4. Developmental Psychology

      5. Social Psychology

      6. Evolutionary Psychology

      7. Cross-cultural Psychology

   5. Humanities within the following contexts

      1. Language and Linguistics 

      2. Intersectionality and Cultural Critiques

      3. Art History 

      4. Gender and Sexuality Studies 

      5. Folklore Studies 

      6. War and Conflict Studies 

      7. Social Movements and Activism 

      8. Histories of Oppression and Resistance

4. Art as a Medium for Inquiry

   1. Choreographic Research 

   2. Visual Arts Analysis 

   3. Multimedia Collaboration 

5. Research Methodology - Feminist Methodology

6. Artist Practice - ENTROPY

   1. Overview of ENTROPY 

   2. Performing Arts Components

      1. Prologue

      2. “一1One二2Two三3Three” 

      3. “N.U.O” 

      4. “Hunger” 

      5. “Off to On” 

      6. “Fourth Wound” 

   3. Installation Art Components

      1. Nigaogemao 

      2. Screaming 

   4. Documentary Film - I don’t even know what I’m looking for,

7. Discussion and Analysis

8. Conclusion

   
   

Introduction

Art has long served as a powerful medium for questioning and redefining human existence. This paper explores how Tibetan Buddhism, Daoism, posthumanism, and feminist methodologies provide alternative perspectives on identity, power, and transformation. By integrating these philosophies into artistic practice, we can challenge conventional perceptions of selfhood and agency. The research aims to examine how these frameworks dissolve rigid structures of identity and offer a more fluid and interconnected understanding of human existence.

Tibetan Buddhism and Daoism: Impermanence and the Fluidity of Identity

Tibetan Buddhism and Daoism emphasize impermanence and non-duality, challenging fixed notions of identity. The Buddhist concept of anicca (impermanence) and shunyata (emptiness) propose that identity is not a singular, stable entity but an ever-changing interplay of conditions. Similarly, Daoist philosophy, through wu wei (effortless action) and ziran (naturalness), advocates for an organic, adaptive approach to existence. These ideas challenge Western constructs of individuality and selfhood, instead presenting a dynamic, interdependent view of existence.

In artistic practice, these philosophies manifest in ephemeral performances, site-specific installations, and interactive works that emphasize transformation. Dance, in particular, becomes a medium that embodies impermanence, as movements arise and dissolve within a single performance. The dissolution of self in Tibetan Buddhist meditation mirrors the dissolution of the performer’s ego in movement-based art, creating a space where identity is continuously reconstructed.

Posthumanism: Reframing Humanity Beyond the Anthropocentric

Posthumanism critiques the traditional anthropocentric view of humanity as the center of the universe. It challenges the boundaries between human and non-human, viewing humans not as exceptional beings but as part of an interconnected network of life. This theory is particularly pertinent when considering the evolving relationship between humans, technology, and the environment. In the context of ENTROPY, posthumanism reframes humanity as a fluid, porous entity constantly interacting with other life forms—animals, technology, and even non-living systems. This challenges traditional narratives that place humans at the apex of existence.

Donna Haraway’s A Cyborg Manifesto (1985) is a key text in posthumanism, where she argues that the binary between human and machine, organic and synthetic, must be dissolved to understand the complex, interdependent relationship between these entities. Haraway’s vision of the “cyborg”—a hybrid of machine and organism—helps deconstruct traditional ideas of human identity. By incorporating this perspective, ENTROPY critiques the false dichotomy between nature and technology, showing how both are interwoven and continually shape one another. Technology does not simply serve humanity; it redefines humanity itself, as it alters human capacities, identities, and interactions. Through this, posthumanism emphasizes the dissolution of the self as a fixed, autonomous entity and aligns with the Tibetan Buddhist and Daoist views of impermanence and interconnectedness.

Feminist Methodologies: Gender, Power, and Intersectionality

Feminist methodologies offer an additional layer of complexity by focusing on the intersectionality of identity—how gender, race, class, and sexuality intersect with systems of power. Feminist scholars, like bell hooks and Judith Butler, have long critiqued how societal structures enforce rigid gender binaries and power dynamics. By incorporating feminist thought, ENTROPY interrogates how these systems of oppression are entangled with both spiritual and technological realms.

Judith Butler’s concept of performativity, as outlined in Gender Trouble (1990), challenges the notion of gender as an inherent, fixed identity. Instead, gender is seen as a social construct that is continually performed through repeated actions. This idea dovetails with both Daoist and Tibetan Buddhist views on the fluidity and impermanence of identity. Gender, like all identities, is not a static category, but something that is in flux, constantly shifting in response to internal desires, societal structures, and cultural narratives. This perspective, when incorporated into ENTROPY, allows for a critique of rigid gender norms and highlights how gender is continually shaped, deconstructed, and reconstructed within a web of spiritual, technological, and societal forces.

Furthermore, feminist theories challenge the ways in which power operates across different levels of society. Feminist thinkers like Audre Lorde and Kimberlé Crenshaw have emphasized the importance of acknowledging how different forms of power—patriarchy, capitalism, colonialism—are interconnected and shape the lived experiences of marginalized communities. ENTROPY uses feminist frameworks to explore how power structures dissolve and transform over time, as well as how individuals navigate these forces. Feminism thus becomes an essential tool for interrogating how the dissolution of identity, as seen in the entropy of systems, intersects with gendered power dynamics.

Art as a Medium: Interrogating, Deconstructing, and Rebuilding

Art, particularly performance and visual art, offers a powerful space to embody and explore these philosophical ideas. Through immersive, participatory experiences, art can confront audiences with the dissolution of traditional forms of identity and power. In ENTROPY, art becomes a medium to explore how identities—whether gendered, cultural, or technological—are continually being constructed, deconstructed, and reimagined. The performance aspect of the project allows for the visceral experience of identity’s fluidity, while the visual art invites the audience to actively engage with the transformation and reformation of meaning.

The dissolution of identity, as explored through entropy, is mirrored in the art-making process itself. Just as entropy in thermodynamic systems results in disorder and eventual reorganization, the process of creating art involves a constant negotiation between structure and chaos, order and disorder. By using art to embody the concepts of impermanence, transformation, and dissolution, ENTROPY allows audiences to experience these philosophical ideas in a tangible way. The immersive nature of the work invites reflection on how these ideas might inform not only individual identity but collective consciousness and societal transformation.

Conclusion

Integrating Tibetan Buddhism, Daoism, and posthumanism with feminist methodologies reframes humanity as an evolving, interconnected process rather than a fixed, isolated identity. By embracing impermanence, non-duality, hybridity, and intersectionality, art serves as a medium for re-examining humanity beyond rigid boundaries. ENTROPY uses art as a tool to interrogate these philosophical and theoretical frameworks, allowing for the exploration of identity, power, and technology in ways that challenge traditional, static views of the self. These interdisciplinary approaches provide valuable insights into the evolving nature of selfhood, agency, and creative expression, fostering a more inclusive and dynamic understanding of human existence. By examining how identity and power structures dissolve, transform, and regenerate across time and cultures, this integrated perspective offers a profound critique of contemporary society and invites a reconsideration of our place in the world.

Research Questions

The Theoretical Framework and Literature Review section of this thesis integrates diverse philosophical, psychological, and cultural perspectives to explore the fluidity of human identity, gender, and power structures. By examining Tibetan Buddhism, Daoism, Posthumanism, and Feminist Methodologies, alongside various psychological theories and humanities contexts, we aim to address the following research questions:

1. How do Tibetan Buddhism and Daoism philosophies, with their emphasis on impermanence, non-self, and the cyclical nature of existence, challenge traditional, fixed views of human identity and power structures?

• Theoretical Depth: In Tibetan Buddhism, the principle of anicca (impermanence) emphasizes that all phenomena, including identity, are in a constant state of flux. Similarly, Daoism’s core tenet of wu wei (non-action) and the Dao’s cyclical flow of energy underscore the futility of clinging to rigid concepts of selfhood and power. In contrast to Western views of fixed, unchanging human essence, both philosophies invite an understanding of human identity as fluid, evolving, and interdependent with the greater flow of life.

• Artistic Implication: Art can visually and performatively capture the dissolution of fixed identities, offering an experiential reflection of these philosophies’ influence. For example, the deconstruction and reconfiguration of the human form in performance art could embody the philosophical idea that identity and power are never static.

2. How can posthumanism, with its rejection of the human/technology divide, expand our understanding of identity and power in the context of technological advances and feminist theory?

• Theoretical Depth: Posthumanism disrupts the traditional humanist conception of the subject by emphasizing that the human body is no longer the center of meaning in an increasingly technocentric world. Theories by scholars like Rosi Braidotti and Donna Haraway propose a world where the boundaries between human, non-human, and technological entities blur. The feminist reimagination of posthumanism challenges patriarchal norms, opening the door for new explorations of gender, identity, and power that transcend the human experience.

• Artistic Implication: Art can interrogate the evolving relationship between humans and technology, illustrating how our identities are transformed by technological, social, and cultural forces. The use of multimedia, interactive installations, or digital performance could explore how identities are entangled with machines, AI, and digital environments, showcasing the dissolution of traditional gender and power dynamics.

3. How can integrating Tibetan Buddhist and Daoist philosophies with feminist methodologies help reveal the intersections of gender, spirituality, and power, offering new perspectives on the fluidity of human experience?

• Theoretical Depth: Feminist methodologies, particularly intersectional feminism, focus on how identities (such as gender, race, class, and sexuality) are socially constructed and mutually reinforcing. When coupled with the fluidity of Tibetan Buddhism’s emptiness (shunyata) and Daoism’s rejection of dualities, these philosophies allow us to see gender and power as not inherent but rather as constructed, cyclical, and mutable. Such a framework reveals that power is not static but can be transformed through spiritual and embodied practices.

• Artistic Implication: Art could engage the viewer in experiencing power dynamics in flux, incorporating elements that transform and evolve throughout the performance. The fluid nature of gender, power, and spirituality could be represented through the integration of live performance with visual arts that change or shift over time, reflecting a dynamic, ever-changing sense of identity.

4. How can art, as a reflective medium, provide insights into the dissolution and recreation of human identity, gender, and power structures through the lens of Tibetan Buddhism, Daoism, posthumanism, and feminist theory?

• Theoretical Depth: Art, with its ability to create immersive experiences, can act as a mirror to the collective human psyche. In this context, art becomes a space for exploring the impermanence and flux of identity, as seen through Tibetan Buddhism and Daoism, while also challenging static gender roles and power structures via feminist theory. Posthumanism offers the possibility of reimagining identity beyond the body, including the non-human and technological, pushing further into spaces of potential transformation.

• Artistic Implication: The integration of moving images, sculpture, performance, and interactive art could help dissolve the separation between art and life, offering an embodied critique of human-centeredness, gender hierarchy, and the constricting boundaries of identity. The artwork could itself evolve, transform, and disappear, challenging the viewer to reflect on the constant cycles of dissolution and rebirth that permeate human existence.

5. What role does art play in reframing the understanding of technological and spiritual evolution, particularly in terms of identity, gender, and power, when informed by Eastern philosophies and posthumanism?

• Theoretical Depth: Eastern philosophies emphasize the interconnectedness of all things—an idea that contrasts with Western individualism and materialism. As we advance technologically, the barriers between the spiritual and material worlds are often obscured, and posthumanist thought challenges the separation between human and machine. This reframing allows for a new conception of how technology might be spiritually and socially integrated into human identity.

• Artistic Implication: Art has the capacity to visualize these intersections. For example, performances could incorporate both human and technological elements, showing the integration of the spiritual and material, as well as the non-human and technological, within a shifting landscape of identity and gender.

Theoretical Framework and Literature Review

Theoretical Layers

Religious and Ideological Studies: Tibetan Buddhism and Daoism

Tibetan Buddhism and Daoism both emphasize the impermanence of existence, though their approaches differ based on cosmological perspectives. In Tibetan Buddhism, the concept of anicca (impermanence) is foundational, asserting that all phenomena are in constant flux (Gethin, 1998). This aligns with the doctrine of samsara—the endless cycle of birth, death, and rebirth—which highlights identity as a process of continuous transformation rather than a fixed entity (Harvey, 2013). Pema Chodron (2006) underscores this by stating, “We are not defined by the stories we tell about ourselves.”

In Daoism, the Dao (the Way) is a fundamental force that guides all existence, reinforcing the fluidity of identity and power structures. Laozi’s Tao Te Ching (c. 4th century BCE) states, “The Dao gives birth to One. One gives birth to Two. Two gives birth to Three. Three gives birth to all things” (Laozi, trans. Ames & Hall, 2003). This passage reflects a cyclical cosmology where transformation is natural and inevitable. Daoism’s principle of wu wei (effortless action) further suggests that identity and power are not rigid constructs but evolve harmoniously with the natural world (Kohn, 2009). This resonates with the scientific concept of entropy, which describes the natural tendency of systems to move toward disorder, emphasizing transformation as an inherent aspect of existence (Schroeder, 2000).

Posthumanism Theory

Posthumanism challenges the anthropocentric worldview by questioning the boundaries between human and non-human entities, particularly in relation to technology, power, and identity. Donna Haraway’s A Cyborg Manifesto (1985) posits that technological advancements blur distinctions between human and machine, redefining identity and agency. This notion extends into discussions of transhumanism and bio-enhancement, where identity is no longer solely determined by biological factors but also by technological integration (Bostrom, 2005).

Additionally, Rosi Braidotti’s The Posthuman (2013) critiques traditional humanist ideas of stable identity, arguing that subjectivity is distributed across biological, technological, and social networks. This perspective aligns with Daoist and Buddhist ideas of selfhood as non-fixed and interdependent (Garfield, 2015). Such frameworks open possibilities for understanding identity as dynamic, shaped by evolving interactions between humans, nature, and technology (Wolfe, 2010).

Philosophical Inquiries

Desire and Attachment

In Buddhist philosophy, tanha (craving) is considered the root of suffering, leading to attachment and an illusion of a permanent self (Rahula, 1959). Daoism, in contrast, advocates for reducing desires to align with the Dao, promoting harmony and spontaneity (Laozi, trans. Ivanhoe, 2002). These perspectives offer insight into how desire influences identity and power structures, challenging Western notions of fixed selfhood and consumer-driven identities (Bauman, 2007).

Morality and Governance

Buddhism’s ethical framework, rooted in the Eightfold Path, promotes moral conduct as a means to alleviate suffering (Gombrich, 1988). Daoism, through wu wei, suggests that governance should align with natural order rather than impose rigid control (Zhuangzi, trans. Watson, 1968). These perspectives provide alternative critiques of hierarchical power structures and advocate for more fluid, responsive forms of leadership (Ames & Hall, 2003).

Psychological Theories

Criminal Psychology and Rehabilitation

The Buddhist and Daoist emphasis on transformation aligns with rehabilitation models in criminal psychology, which prioritize reform over punishment (Maruna, 2001). The fluid nature of identity suggests that individuals are capable of change, challenging deterministic views of criminality (Sampson & Laub, 1993).

Personality and Developmental Psychology

Western personality theories often categorize individuals into fixed types (e.g., Big Five, MBTI), whereas Eastern philosophies emphasize adaptability and evolution of the self (Markus & Kitayama, 1991). Similarly, Erikson’s (1950) psychosocial development theory supports the idea that identity is not static but evolves through life stages.

Cognitive and Social Psychology

Mindfulness-based interventions, rooted in Buddhist meditation practices, have been shown to enhance cognitive flexibility and emotional regulation (Kabat-Zinn, 1990). Social identity theory (Tajfel & Turner, 1986) further aligns with Eastern philosophies by recognizing that self-concept is shaped by relational and collective contexts, not just individual attributes.

Humanities within the Following Contexts

Language and Linguistics

Eastern philosophies challenge the rigidity of linguistic categories, proposing that language constructs identity rather than merely reflecting it (Whorf, 1956). This perspective aligns with poststructuralist theories in linguistics (Derrida, 1976).

Intersectionality and Cultural Critiques

Kimberlé Crenshaw’s (1989) concept of intersectionality examines how overlapping social identities (e.g., race, gender, class) interact with systems of oppression. Integrating Buddhist and Daoist perspectives offers alternative frameworks for understanding power dynamics beyond Western dualistic paradigms.

Art History and Gender Studies

Art has long served as a medium to challenge identity constructs. The fluidity of selfhood in Buddhist and Daoist thought finds expression in contemporary performance art, such as Marina Abramović’s endurance-based works (O’Dell, 1998). Additionally, gender fluidity in Daoism (e.g., Laozi’s yin-yang balance) provides a historical basis for non-binary identity frameworks in modern gender studies (Lloyd, 2007).

War and Conflict Studies

Understanding conflict through the lens of Buddhist upaya (skillful means) and Daoist wu wei provides alternative approaches to conflict resolution, emphasizing adaptability and non-coercive power (Thurman, 1998). These frameworks challenge Western paradigms of dominance and warfare.

Social Movements and Activism

Eastern philosophies inform non-hierarchical activism strategies, such as those employed by Gandhi’s satyagraha movement, which was influenced by Jainism and Buddhism (Bondurant, 1965). These approaches advocate for decentralized, fluid power structures over rigid, top-down models.

Histories of Oppression and Resistance

Buddhist and Daoist philosophies have historically influenced resistance movements, such as Tibetan nonviolent resistance against Chinese occupation (Shakya, 1999) and Daoist-inspired peasant uprisings in imperial China (Overmyer, 1976). These histories demonstrate the role of Eastern thought in redefining power and challenging oppression.

Art as a Medium for Inquiry

In this section, the role of art as both a space for exploration and a reflective tool will be examined through the integration of spiritual philosophies and physical performance. By investigating how art can deconstruct identity and power, I will illustrate how these philosophical frameworks transcend theoretical discussions and come alive through creative processes. The exploration of identity and power dynamics, central to the theories discussed earlier, will find their manifestation in my artistic practices, revealing the fluidity, transformation, and complexities of these concepts. Art, in its varied forms, serves as a vehicle for inquiry, offering a means to delve into the dissolution and recreation of human identity and power.

Choreographic Research – Integrating Spiritual Philosophies with Physical Performance

Choreography, as an embodiment of thought, serves as a particularly potent medium for exploring philosophical concepts. The integration of Daoist and Buddhist teachings into physical performance allows for an experiential investigation of identity and power. In this context, choreography becomes more than a mere arrangement of movements; it evolves into a process of unraveling and reconstructing personal and collective narratives. By aligning movements with spiritual philosophies, I aim to convey the fluidity of self, identity, and power, challenging the conventional boundaries of human experience. The body, as both subject and object, provides a powerful site where these theories can be explored, questioned, and embodied, bridging the abstract and the tangible.

Through choreographic research, I engage with the fluidity and intricacy of human nature and dissolution of fixed identity as a central theme. The choreography, driven by philosophical concepts, offers a non-verbal language through which the body can transcend conventional power structures. It allows for the performance of both internal and external conflict, bringing to light the tensions between individual and collective identities, as well as the societal power structures that shape them. Through repetition, transformation, and abstraction, I aim to reveal the fluid and multifaceted nature of human existence, as shaped by cultural, spiritual, and philosophical forces.

Visual Arts Analysis – Utilizing Installation Art to Embody Philosophical Concepts

In parallel to choreographic research, visual art—specifically installation art—provides a framework to further examine the theories discussed. Installation art offers a spatial and immersive means to explore identity and power, creating environments that reflect the complexities and contradictions inherent in these concepts. Through the placement of objects, light, and spatial arrangement, installation art becomes a tangible manifestation of abstract theories, offering viewers a direct sensory experience that reflects philosophical inquiries.

Drawing on both Eastern and Western philosophies, my installation work seeks to visualize the ephemeral nature of power and identity. The objects within the installation, often intentionally disordered or in transition, mirroring the constant flux and instability of identity. Just as the Daoist concept of “wu wei” (non-action) suggests that things should flow naturally, my installations often leave space for viewer interpretation and interaction, allowing the installation to evolve in real time. The immersive nature of the installations invites contemplation and self-reflection, providing the viewer with an opportunity to engage with the concepts of power and identity on a visceral level.

Multimedia Collaboration – Working with Musicians and Video to Create a Sensory Understanding of the Theories Discussed

The integration of multimedia, including music and video, further enriches the exploration of these philosophical concepts. Music, with its emotive power, serves as a means to translate abstract ideas into sound, creating an emotional and psychological resonance that complements the visual and choreographic components. Through collaboration with musicians, I seek to create a dynamic soundscape that enhances the exploration of identity and power. The auditory experience provides an alternative way to perceive the themes at hand, allowing for a deeper engagement with the material.

Video, on the other hand, offers a way to document and transform the creative process itself. Through video, I capture the process of deconstructing and recreating identity, allowing the viewer to witness the transformation and adaptation of both self and performance. The incorporation of video into the installation and performance art pieces provides a temporal dimension to the work, representing the continuous cycle of change and renewal that defines identity and power.

Together, these multimedia elements work in synergy, creating a multisensory environment that allows for a more nuanced understanding of the philosophical theories discussed. Through the combination of visual, auditory, and physical components, the theories of identity and power become not only intellectual constructs but lived experiences that unfold in real time. The collaborative nature of this multimedia approach amplifies the impact of the work, enabling a deeper, more holistic engagement with the themes at the core of this inquiry.

Conclusion

Art, in all its forms, provides a space for exploration, reflection, and transformation. As a medium for inquiry, it offers the potential to challenge and reshape traditional understandings of identity and power. Through choreography, installation art, and multimedia collaboration, my artistic practices act as a bridge between theory and lived experience, allowing for a deeper understanding of the fluidity and complexity of the human condition. This process of artistic inquiry not only deconstructs existing narratives of identity and power but also proposes new possibilities for their recreation and reimagining.

Research Methodology: Feminist Methodology in Art as Research

For this thesis, I will employ feminist research methodology to explore the intersections of gender, spirituality, and power through artistic practices, such as contemporary dance, installation art, and moving images. Feminist methodologies provide a critical framework for deconstructing patriarchal norms and exploring how gender and power intersect in multifaceted ways. This approach emphasizes inclusivity, reflexivity, intersectionality, and the empowerment of marginalized voices, allowing me to examine the complex dynamics of identity and power through the lens of spirituality and art.

Feminist methodology centers on recognizing and challenging the power dynamics present in traditional research practices. According to D.E. Smith, feminist research methodologies “emphasize the importance of acknowledging and challenging the power dynamics inherent in traditional research practices. It seeks to produce knowledge that reflects the diverse experiences and perspectives of women and other marginalized groups” (Smith 726-737). This critical approach allows for an exploration of gender biases, inequalities, and the ways in which traditional research methods often fail to fully capture the experiences of marginalized individuals. By utilizing feminist frameworks, my research will challenge these power structures, aiming to produce knowledge that is more inclusive, nuanced, and reflective of diverse identities.

Intersectionality and Feminist Thought

One of the core principles of feminist methodology is intersectionality, a concept that was introduced by Kimberlé Crenshaw. Intersectionality acknowledges that individuals experience oppression and privilege in interconnected ways based on multiple aspects of their identities, including race, gender, class, sexuality, and other social categories. As Crenshaw argues, “Intersectionality provides a lens to view how various systems of power intersect to create unique forms of marginalization” (Crenshaw 1241-1299). In my research, this lens will help illuminate the complexity of gender and power within the context of Tibetan Buddhism, Daoism, and posthumanism, particularly as they relate to how individuals navigate and transcend patriarchal norms.

By applying an intersectional perspective, my work will consider how different identities—whether related to gender, spirituality, or cultural background—interact and shape each other. This aligns with feminist methodologies that push for an analysis of how power operates not only in gendered terms but in the broader context of intersecting identities and systems of oppression.

Feminism, Power, and Spirituality

In the context of this thesis, feminist methodologies provide a means to explore how gender and spirituality intersect with and influence power. Integrating feminist thought with Tibetan Buddhism and Daoism allows for a critique of traditional gender roles within spiritual practices while also highlighting the fluidity of identity. The feminist critique of power, as articulated by Donna Haraway, offers a perspective that disrupts traditional narratives of control and dominance. Haraway’s work, A Cyborg Manifesto, explores how identity and power are constructed in ways that limit human potential and how these boundaries can be subverted (Haraway 575-599). Similarly, Tibetan Buddhism and Daoism emphasize impermanence, interconnectedness, and the dissolution of rigid identity boundaries, offering an opportunity to challenge fixed notions of power and gender.

By integrating feminist methodologies with these spiritual traditions, I seek to examine how they together reveal the fluidity of gender and power, showing that these categories are not inherent or fixed but rather socially and culturally constructed. This approach critiques the systems that seek to define and confine gender and power, proposing instead a dynamic, transformative, and more inclusive understanding of these concepts.

Art as a Research Method

In this research, art itself will serve as the primary method of inquiry. I will integrate feminist methodologies, Tibetan Buddhism, Daoism, and posthumanism into my artistic practices, including performance, visual art, and multimedia installations. Art, in this context, functions as both the medium and the method through which I explore, critique, and reimagine the systems of power, identity, and gender. As feminist scholars such as Patti Lather have emphasized, research should not be confined to traditional methodologies but should include embodied, creative, and performative approaches that engage with lived experience (Lather 273-292). In my case, performance art, installation, and multimedia work provide a rich space to engage these themes experientially.

Through choreography and installation art, I will create environments where gender, power, and spirituality are not only discussed but experienced through embodied practice. These performances will engage viewers and participants in a dialogue about the deconstruction and recreation of identity. By combining spiritual philosophies with feminist methodologies, my art aims to critique patriarchal norms while also offering an alternative, non-hierarchical approach to identity and power.

In addition, the intersectionality of feminist methodologies will be explored by engaging with the multiple identities and experiences of the individuals involved in my artwork. The participatory and collaborative nature of this research approach will invite diverse voices, further breaking down traditional barriers of exclusion and dominance.

Discussion and Analysis

In this section, I will analyze how the integration of Tibetan Buddhism, Daoism, posthumanism, and feminist methodologies has shaped my artistic work and critique of societal structures. By using art as both a method and a medium for inquiry, I aim to understand how these philosophical frameworks intersect to challenge traditional views of identity, power, and gender. My artistic practice, incorporating contemporary dance, installation art, and moving images, serves as a tool to explore these complex ideas and provide insights into the intersections of gender, spirituality, and power.

Intersections of Tibetan Buddhism, Daoism, and Feminist Methodologies in Artistic Work

Tibetan Buddhism and Daoism offer profound philosophical insights into the fluidity of human identity and the impermanence of power structures. Tibetan Buddhism’s emphasis on anicca, the impermanence of all things, challenges the conventional, static understanding of human identity. Similarly, Daoism’s wu wei (non-action) and its recognition of the cyclical nature of existence highlight the futility of clinging to rigid notions of the self. Both philosophies suggest that identity and power are not fixed but are constantly evolving and interdependent with the flow of life.

Through my choreography and installations, I have embodied these philosophies by deconstructing traditional representations of identity and power. For instance, the movement in my contemporary dance pieces intentionally explores the dissolution and reconfiguration of the body, echoing the philosophical assertion that identity is fluid and interconnected. The performances, through their continuous transformation, reflect the impermanence of all phenomena, urging the audience to confront the transitory nature of identity and power. This engagement with Tibetan Buddhism and Daoism in performance art serves as an experiential reflection of these philosophical ideas.

Feminist methodologies, particularly intersectional feminism, emphasize how gender, race, class, and sexuality are socially constructed and mutually reinforcing. When applied alongside the fluidity emphasized in Tibetan Buddhism and Daoism, feminist frameworks enable a critique of the binary constructs of gender and power. This intersection allows for a deeper understanding of how identities—especially those marginalized by traditional gender norms—can be seen as mutable, cyclical, and shaped by social and spiritual forces.

My work incorporates this perspective by focusing on the ways in which gender and power are performed, challenged, and transformed in my pieces. The fluidity of gender, as informed by feminist thought, is represented through both movement and visual arts. In my installations, objects are continuously altered, signaling the shifting and evolving nature of identity and power structures. These shifts in form, space, and material challenge the viewer to reconsider fixed notions of gender and identity, while also highlighting the interplay between spirituality and power.

Posthumanism and the Reconfiguration of Identity and Power

Posthumanism disrupts traditional humanist conceptions of identity and power by rejecting the human/technology divide and embracing the interconnectedness of human, non-human, and technological entities. Theories from scholars like Rosi Braidotti and Donna Haraway advocate for a world where boundaries between human, non-human, and technological beings are blurred, allowing for new explorations of gender, identity, and power. By rejecting the anthropocentric view, posthumanism offers a critique of human-centered power structures, pushing for a more inclusive and fluid understanding of identity.

This philosophical approach is particularly relevant in the context of my artistic work, as I explore the ways in which technology, spirituality, and the human body intersect. In my multimedia and interactive installations, I incorporate elements of technology, such as projections and digital media, to interrogate how the boundaries between human and machine are increasingly indistinct. The integration of artificial intelligence, digital representations, and human movement allows me to examine how identities are reshaped in response to technological, social, and cultural forces. The fluid nature of gender and power, which feminist methodologies reveal, becomes even more pronounced in these technological environments, where traditional structures of dominance and control are constantly evolving.

In this way, posthumanism, combined with feminist methodologies, enhances my critique of gender and power. By using digital performance and interactive art, I aim to offer a space where identities can be reimagined and transformed through technological interactions, expanding the possibilities for gender and power dynamics to be fluid and transformative rather than fixed and hierarchical.

The Role of Art in Transforming Power Dynamics and Identity

Art, as a reflective medium, provides an invaluable space to explore the dissolution and recreation of human identity, gender, and power. By drawing on the theoretical frameworks of Tibetan Buddhism, Daoism, posthumanism, and feminist thought, my art serves as a critique of societal structures and offers new ways to understand the fluidity of human experience. These philosophies emphasize the impermanence and interdependence of all things, encouraging a rejection of fixed, rigid identities and power hierarchies.

In my artistic practice, I use performance art and visual installations to reflect these philosophical principles. The movement in my dance pieces is designed to mimic the fluidity of identity and power, while the transformation of materials in my installations symbolizes the constant cycles of creation, dissolution, and rebirth that characterize both human experience and societal structures. Through these shifting forms, I invite the viewer to engage with the idea that power and identity are never fixed but are constantly in flux, influenced by both internal and external forces.

The intersection of these theories within my work also enables a critique of societal structures that seek to contain or define gender and power. By presenting an alternative to the rigid boundaries often imposed by patriarchal systems, my art invites the audience to reflect on the potential for transformation within these structures. The work becomes not only a critique but also a space for the viewer to experience the possibility of liberation from these restrictive norms, offering a new understanding of identity and power that is fluid, interconnected, and dynamic.

Insights Gained Through Artistic Exploration

Through this process of integrating feminist methodologies, Tibetan Buddhism, Daoism, and posthumanism into my artistic practice, I have gained profound insights into the fluidity of identity and the transformative power of spirituality and art. One key insight is the realization that identity is never fixed or complete but is always evolving in response to the cyclical nature of existence and the forces that shape us. This aligns with the philosophical ideas of impermanence in Tibetan Buddhism and the Daoist concept of wu wei.

Additionally, the integration of posthumanism into my work has deepened my understanding of how technological advancements can transform not only our understanding of the human body but also the very concept of identity itself. The boundaries between the human and the non-human, as well as between technology and nature, are increasingly becoming porous, and art provides a vital space to interrogate and reflect these shifts.

Finally, feminist methodologies have allowed me to center marginalized voices and challenge the dominant gender norms that often shape our understanding of power. By combining these methodologies with Eastern philosophies and posthumanism, my work offers new perspectives on the intersections of gender, power, and spirituality, encouraging a more inclusive and fluid understanding of identity.

In conclusion, the theories explored in this thesis have provided a rich foundation for my artistic exploration of identity, gender, and power. By applying these philosophical ideas through art, I aim to challenge societal norms and create a space for new possibilities of transformation and liberation.

Artist Practice - ENTROPY

Overview of ENTROPY 

The project titled ENTROPY draws its inspiration from the definition of entropy in thermodynamics, a fundamental idea in both thermodynamics and philosophical thought, particularly within the context of Daoism and Tibetan Buddhism. Entropy, in thermodynamics, refers to the measure of disorder or randomness in a system, often symbolizing the inevitable breakdown and dissolution of energy over time. In a philosophical sense, entropy resonates with the notion of impermanence—an inherent characteristic of existence as understood through Eastern philosophies. The concept challenges static, fixed notions of identity, existence, and power, aligning seamlessly with the concert’s thematic exploration of dissolution and transformation.

The philosophical framework of ENTROPY pulls from the Daoist worldview, where the Dao, often translated as the “Way,” represents an eternal force that flows through all life, giving rise to creation, transformation, and eventual dissolution. In the Tao Te Ching, Chapter 42 states, “The Dao gives birth to One. One gives birth to Two. Two gives birth to Three. Three gives birth to all things” (Laozi, 6th century BCE). This cyclic process reflects a core belief in the impermanence and fluidity of all things, where energy (Dao) perpetually transforms and disperses, much like entropy’s description of disorder increasing over time. In this context, the project embraces entropy as both a literal and metaphorical force—examining the decay, transformation, and recreation of identity and power structures across time.

The title also draws upon posthumanism, which challenges the traditional boundaries between humans, technology, and non-humans. As our technological advancements evolve, the dissolution of clear human-centric narratives mirrors the entropy of identity. This project, therefore, explores how the individual’s relationship with power, identity, and gender dissolves and shifts, akin to how systems lose energy and order in the face of entropy. By integrating feminist methodologies and posthumanist perspectives, the work engages critically with the intersections of spirituality, technology, and power—concepts that historically dissolve and are reformed across cultures, systems, and time.

In the context of Tibetan Buddhism, entropy can be understood through the lens of impermanence (anicca), one of the three marks of existence, which states that all things are in constant flux. The Buddhist view of the impermanence of life echoes entropy’s idea of continual change, dissolution, and eventual rebirth. The project, ENTROPY, thus, uses this fluidity of existence as a thematic backbone, exploring how societal, cultural, and personal identities undergo cycles of construction, destruction, and reconstruction, akin the energetic processes at play in thermodynamic systems.

ENTROPY intricately weaves the philosophies of Tibetan Buddhism and Daoism, posthumanism, and feminist thought to explore humanity’s trajectories across time. By examining primal life stages, the quest for power, and the dissolution of identity, the project critiques how these forces shape our understanding of existence. It engages with how identity and culture transform over time, shedding light on the impermanence of all things and the intersection of spirituality and technology in the shaping of human lives.

At its core, ENTROPY challenges static notions of humanity, self, gender, and technology. Posthumanism, in particular, raises questions about the boundaries of the human form and its evolving relationship with technology, reflecting anxieties about the future of human identity. In this light, ENTROPY interrogates how technological advancements and societal transformations push against the fixed definitions of what it means to be human.

The work also engages with feminist methodologies, focusing on the intersectionality of gender and power dynamics. It explores how gender identities intersect with social hierarchies, technology, and spiritual beliefs, offering new perspectives on the complexities of gender and power in the contemporary world.

Integrating both performing and visual arts, ENTROPY creates an immersive experience that invites the audience to engage with the themes of spirituality, identity, and power. The performing arts component may address heavy subject matter, including potential sexual content, urging viewers to confront the vulnerabilities and transformations of human existence. The visual arts, in turn, invite active participation from the audience, further dissolving the boundaries between the viewer and the artwork—much like the dissolution of identity explored throughout the project.

Structured into five chapters, ENTROPY follows a chronological narrative, progressing from the past to the present and future. Each chapter incorporates posthumanism and the philosophical frameworks of Tibetan Buddhism and Daoism to explore the themes of impermanence, transformation, and the evolving relationship between humans and non-humans. As the audience moves through each chapter, they encounter a fusion of ancient wisdom and contemporary anxieties, reflecting the project’s commitment to the fluidity of existence and the constant cyclical flow of energy.

Given the sensitive nature of some subject matter, viewers will be asked to review and acknowledge a content warning before attending. This ensures that the audience is prepared for the profound themes explored in the performance, fostering a reflective and respectful environment.

By weaving together human history with speculative futures, ENTROPY challenges fixed notions of humanity, identity, gender, and technology, offering a deep exploration of how these forces shape our collective consciousness.

Performing Arts Components

1. Prologue & Foreshadowing - Time Travel

This opening section introduces the thematic and symbolic foundation of ENTROPY, weaving together its core philosophical inquiries and visual motifs. The nine dancers each embody distinct chapters of the concert, serving as living representations of the evolving concepts that will unfold throughout the performance. Their interactions and objects act as narrative signposts, carrying layered meanings that resonate across time, space, and identity.

At the heart of this prologue is the Time Traveler, a humble yet enigmatic figure navigating the stage with a collection of symbolic objects—each imbued with historical, philosophical, and existential weight. The traveler’s journey mirrors humanity’s passage through time, accumulating fragments of existence that reflect the anxieties, desires, and shifting power structures of different eras.

Among the traveler’s possessions:

• A deflated human-shaped plastic mannequin – a haunting relic of the posthuman era, embodying existential anxiety and the fragile, transient nature of identity in a technologically mediated world.

• A plate – a metaphor for sustenance, desire, and the socio-political implications of food as both a resource and a symbol of control.

• A fork – an object of duality, serving as both a tool for nourishment and a potential weapon, reflecting the precarious balance between creation and destruction.

• A container crafted from a stick and a red cloth – an artifact evoking the simplicity of ancient travelers, yet rich with layered significance. The red cloth serves as a recurring motif throughout the concert, its presence hinting at deeper themes of sacrifice, transformation, and the unseen forces that shape existence.

As the Time Traveler moves through space, they eventually pass the stick—an emblem of continuity and transformation—to another character representing the immutable force of Time itself. This handover signifies the perpetual cycle of change, the inescapable flow of entropy, and the thematic undercurrents that will permeate the performance.

The remaining characters embody fundamental elements:

• The Qi of Tai Chi—flowing energy that represents the unseen forces of existence.

• Cyborgs—the intersection of human and machine, embodying posthumanist anxieties.

• Animals and humans—representing diverse perspectives on existence and evolution.

At the climax of this prologue, all characters converge at the center of the stage. The Cyborg and the Time Traveler extend their fingers toward each other, re-enacting the iconic gesture from Michelangelo’s The Creation of Adam (1510). This moment serves as a powerful foreshadowing of the posthumanist era—questioning the blurred boundaries between human and machine, organic and artificial, creation and entropy.

Every object, gesture, and interaction in this section will reappear throughout the concert, creating a cyclical, interwoven experience where themes of impermanence, transformation, and interconnectedness are continuously examined. This prologue not only sets the stage for the unfolding narrative but also challenges the audience to engage with the performance as a living, evolving entity—one that transcends time, form, and fixed identity.

2. “一1One二2Two三3Three” (Human Species Initial Evolution) – “Ancient Time”

Program Notes:

一Yi1One:

In “Taiji Tushuo,” Zhou Dunyi writes: “The Wu Ji (Limitless and yet the Tai Ji (Supreme Ultimate). The Tai Ji moves and generates Yang; when movement reaches its limit, it becomes still, and stillness generates Yin. When stillness reaches its limit, movement arises again. One movement and one stillness mutually root each other; Yin and Yang are thus differentiated, and the Two Forces are established.”

二Er2Two: 

Chapter 42 of the Tao Te Ching: “The Dao gives birth to One. One gives birth to Two. Two give birth to Three. Three gives birth to all things.”

三San3Three:

Everything

Concept and Thematic Exploration

一1One二2Two三3Three is a performance piece that explores the origins of human evolution through the lens of Daoist philosophy, the concept of Tai Chi, and the fundamental forces that shape existence. The duet performance traces the journey from the inception of life—its most primitive, undifferentiated form—through the emergence of consciousness, gender identity, conflict, and ultimately, the transition into a posthumanist future.

The performers’ bodies serve as vessels for this transformation, mirroring the natural order described in Daoist thought: an eternal cycle of unity, division, and multiplicity. The performance questions not only what it means to be human but also what it means to evolve beyond humanity, to transcend the limitations of form, identity, and even biological existence.

Stage 1: The Genesis of Life – One (Yi, 一)

The piece begins in stillness, invoking the Wu Ji—the state of limitless potential before differentiation. The performer embodies a single-cell organism, moving with slow, fluid gestures, evoking the silent pulse of life in its most fundamental form. This moment captures the essence of the Tai Ji—the first movement that generates existence.

As the cell divides, the body’s movements intensify, becoming more dynamic. The gradual emergence of shape and form symbolizes the interplay of Yin and Yang, where opposites coexist and generate new life. The performer initially embodies an androgynous entity, a primordial being where masculinity and femininity remain undivided—mirroring the Daoist principle that before differentiation, all things are one.

Stage 2: The Duality of Existence – Two (Er, 二)

From unity arises duality. The second performer enters, marking the division of One into Two. Their bodies move in opposition yet remain interconnected, demonstrating the mutual dependency of forces—motion and stillness, creation and destruction, order and chaos.

Here, the performers embody the first steps of human evolution:

• Crawling, standing, walking, running, leaping—charting the journey from primal existence to self-awareness.

• The voice emerges: a whisper, a murmur, a word—marking the genesis of language and the power of expression.

With language comes knowledge, and with knowledge, the capacity to manipulate the world. The first tools appear—not merely as functional extensions of the body, but as artifacts of intent. The performers interact with object that symbolize both creation and destruction: a stick. Tool become weapon, and the harmony of duality fractures into conflict.

This shift embodies a critical moment in human consciousness—the realization of power, hierarchy, and control. What was once a balance of forces (Yin and Yang) now risks turning into domination and subjugation.

Stage 3: The Birth of Identity – Three (San, 三)

From Two emerges Three—the synthesis of opposing forces into multiplicity. The human consciousness expands, categorizing, defining, and dividing. Here, the performers begin to construct identities:

• Gender emerges as a cultural and social construct, moving beyond the fluidity of Yin and Yang into rigid definitions of masculine and feminine.

• The body, once an undivided whole, now negotiates between societal roles, expectations, and constraints.

This stage questions the necessity of such divisions: Is gender an inherent truth, or a consequence of humanity’s need to impose order on chaos? The performers shift between androgyny and polarity, blurring the lines between male and female, self and other. Their movements challenge the permanence of identity, asking whether these distinctions are intrinsic or imposed.

Posthumanist Praxis: Evolution Beyond the Human

While the piece traces humanity’s origins, it simultaneously reflects on the trajectory of human evolution in a world increasingly shaped by technology. The story does not end with the emergence of civilization—it extends into the posthuman era, where the very definition of humanity is in flux.

In this context, the performance takes on a prophetic quality:

• The tool that once served as mere extensions of the body evolve into cybernetic enhancements, merging biology with technology.

• The distinction between organic and artificial dissolves, echoing posthumanist thought that sees the body as a mutable, evolving construct.

• Identity becomes fluid—not only in terms of gender but in the broader sense of what it means to be.

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In the final moment of the performance, the two dancers reach toward each other. However, unlike the biblical moment of divine creation, this gesture represents something else: the threshold of a new existence. The performers are no longer bound by the past, nor constrained by traditional notions of human identity. Instead, they embody an evolving entity—one that acknowledges its origins yet refuses to be confined by them.

Conclusion: The Cycle of Becoming

YiErSan (一二三) is not simply a retelling of human history; it is a meditation on the cyclical nature of evolution and the possibilities of existence beyond traditional definitions. By intertwining Daoist philosophy with posthumanist discourse, the performance challenges the audience to reconsider fundamental questions:

• What does it mean to be human?

• If evolution is a process of continuous transformation, where does it lead?

• In a world where technology reshapes identity, is the body still a limitation, or has it become an open canvas?

From the cellular beginnings to the rise of consciousness, from the unity of Yin and Yang to the creation of gender, from tools to weapons, from flesh to machine—this piece is both a reflection on the past and a vision of the future. It invites us to embrace the fluidity of existence, to see humanity not as a fixed state but as an ever-evolving force—one that, perhaps, is only now beginning to understand itself.

3. “N.U.O” – Group performance exploring fear and fragility through ancient Chinese Nuo rituals and performances – “Old Time”

Program Notes:

What is it that we fear? Perhaps it is our own fragility, our limitations, and the looming potential for self-destruction. The mask, both a physical object and a metaphysical concept, operates as a threshold between the self and the other, the mortal and the divine, the historical and the contemporary. In rituals, donning a mask becomes an act of transformation—an invocation of forces beyond the individual, an embodiment of ancestral memory, and an exploration of the liminal spaces between humanity and the unknown.

Nuo Culture and its Legacy

Nuo culture (傩文化) is an ancient Chinese folk tradition rooted in ritual performance, spiritual practice, and social cohesion. Originating thousands of years ago, Nuo is deeply intertwined with exorcism, shamanistic traditions, and ancestor veneration. Masks play a central role in Nuo rituals, serving as conduits between the human world and the spiritual realm, often representing deities, spirits, and ancestral figures. Traditionally, these ceremonies were enacted to drive away malevolent forces, safeguard communities, and ensure prosperity. Even in contemporary contexts, Nuo culture provides profound insight into early beliefs about life, death, and the unseen forces that shape human existence.

The Significance of the Title: N.U.O

1. New Universal Order – Suggesting a reconfiguration of human values and global consciousness, proposing an intersectional and intercultural approach to understanding identity and existence.  

2. Neo-Universal Ontology – A philosophical exploration of post-humanist identity, proposing a holistic, contemporary interpretation of cultural continuity and transformation.

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Scenic Design

For the scenic design, inspiration was drawn from the traditional Chinese death memorial ceremony. A significant visual element in the piece is the use of paper coins (冥币). In Chinese culture, 冥币 (míng bì)—also known as "joss paper" or "spirit money"—is a form of currency burned during ancestor worship and funeral rituals. It is believed to be sent to deceased relatives in the afterlife, ensuring their comfort and prosperity in the spirit realm. By incorporating these paper coins, the performance not only creates a striking visual effect but also symbolizes the connection between the living world and the supernatural, bridging material and spiritual realms.

Costume Design

The costumes for the piece are rooted in research on Nuo culture. Within Nuo traditions, there exists a specific Nuo dance that integrates masked theatrical performances. Drawing inspiration from these pre-existing Nuo theater costumes, our costume designer Cari Smith meticulously recreated them to be as authentic as possible. This decision reflects our commitment to cultural respect and appreciation rather than appropriation. The careful reconstruction of the costumes serves as an homage to the richness of Nuo heritage, honoring its significance while reinterpreting its essence within a contemporary context.

The Mask as a Symbol of Human Anxiety

From a psychological and philosophical standpoint, the mask represents a paradoxical tension—concealment and revelation, protection and exposure. It is a technology of identity, used both to obscure and to transcend the self. Across cultures, masks have functioned as ritualistic tools, theatrical instruments, and social mediators, reflecting a universal human impulse to negotiate identity through external symbols.

Within Nuo traditions, the mask bridges the human and the divine, allowing the wearer to momentarily embody something greater than themselves. From an ethnographic perspective, this act can be understood as a communal form of transformation, where individuals are temporarily freed from societal constraints, entering a shared mythological consciousness.

However, the function of masks is not confined to antiquity. In post-humanist thought, the mask finds renewed significance in the age of digital avatars, AI-enhanced identities, and cybernetic augmentation. The anxieties that once surrounded spirits and deities have shifted toward concerns over technological control, data surveillance, and the dissolution of personal agency.

Post-Humanism and the Reconstruction of Identity

In this piece, masks do not merely resurrect ancient ritual practices; they evolve into symbols of modern existential inquiry. As performers don their masks, they transition between multiple identities, embodying the fluidity of human nature across civilizations and epochs. The piece challenges the audience to consider:

• How does masking function as a response to societal fears and crises?

• In what ways does contemporary technology serve as a modern mask, altering our perception of self and other?

• What does it mean to exist in a world where identity is increasingly fragmented and mutable?

As the performance unfolds, the shifting personas of the dancers echo the perpetual human quest for self-definition. The mask, which once provided a medium for spiritual transcendence, now becomes a metaphor for contemporary struggles—where cultural heritage meets technological intervention, and where ancient anxieties persist in new forms.

Intersectionality and Cultural Critique

From an intersectional perspective, the mask is also a site of power dynamics—who gets to wear a mask, and who is forced to remove one? Historically, marginalized groups have used masks both literally and metaphorically to navigate oppressive structures, concealing their vulnerabilities while forging alternative identities. The act of masking can be an assertion of autonomy, a reclamation of narrative, or an act of subversion. This piece interrogates the cultural weight of masking across different socio-historical contexts, tracing its implications from Chinese folklore to contemporary digital realities.

The Eternal Struggle Behind the Mask

The universal human struggle is to confront the self in relation to the external world. In ancient times, the mask was a sacred vessel for transformation and protection. In the post-human age, it stands as a symbol of self-augmentation and existential fragmentation. Whether ancient or futuristic, the face behind the mask remains an echo of the same fundamental yearning—to transcend limitations, to confront fears, and to redefine what it means to be human.

Through the interplay of movement, sound, and visual aesthetics, N.U.O seeks to breathe contemporary meaning into the deep cultural roots of ritualistic practices, reminding us that while the materials and technologies of masks may evolve, the existential questions they embody remain timeless.

Intermission

In collaboration with musician Kylar Gardner, I envisioned an immersive auditory experience featuring a continuous sound of rain for both the intermission and pre-show atmosphere. The rain serves as an omnipresent witness—unchanged, eternal, and indifferent to the ever-shifting tides of human history. While humanity reshapes itself through eras of progress, destruction, desire, and conflict, nature remains a silent observer, untouched by the cycles of power and corruption that define civilization.

The persistent rainfall creates a meditative space, dissolving temporal boundaries. It evokes both tranquility and unrest—symbolizing renewal, erosion, and the inescapable passage of time. Just as water nourishes life and carves through stone, it mirrors the forces shaping human existence: relentless, fluid, and inevitable.

4. “Hunger” (Dance theatre piece examining the seven deadly sins and humanity’s insatiable desires) - “Contemporary”

Program Notes:

What did you have for breakfast, lunch, and dinner? Where does the food you eat come from? Who made it, how was it made, and what are its nutritional components? Do you enjoy it alone or share it with others? Why do you eat? Is it because you’re hungry? Is it because you need nutrition to survive? Or is it because you’re craving it?

I start this piece by writing down this short story—there’s layerd meaning behind the surface story, probing humanity’s seven sins and desire in different contexts and ways, exposing the dark side of humanity:

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In a room filled with various objects, there are also numerous carbon-based life forms—or mammals, if you prefer. It's said their survival hinges on the law of the jungle, where the strong dominate the weak. But wait, maybe it’s not entirely that simple. I've heard that desire might be the driving force behind their actions. These creatures have a deep affinity for food, consuming it not just for sustenance, but perhaps for something more.

So, is it all about the struggle for food? How do you define food, anyway? Are they truly always driven by an insatiable hunger? Admittedly, some perish from hunger. But what about the others?

Ah, the others… Good question. Remember the desire I mentioned?

So, what are you implying?

What I’m saying is... can desire be satisfied like a stomach? Can it ever be full? And what exactly is desire made of? How is it crafted?

It seems quite complex… I’ve heard that the seven deadly sins are a significant ingredient, though cultural differences play a role. Different regions use different ingredients, and as for the recipe, violence is a favored taste, and control is another skillful culinary method they employ. Deception and lies enhance the flavor, making the experience richer.

But isn’t overcooked and overly processed food toxic? Aren’t they afraid?

Perhaps… but they don’t care. Even if it’s toxic, they find quiet pleasure in it, enjoying the thrill and sensation. Even if it leads to irreversible harm—but then again, who can resist a moment of pleasure?

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This piece unfolds as an intricate philosophical and psychological exploration of human desire, morality, governance, and power structures. Through the lens of interdisciplinary analysis—drawing from cultural critiques, philosophy, psychology, war and conflict studies, and histories of oppression—”HUNGER” amplifies its conceptual depth. 

Conceptual Framework:

Desire & Power: From philosophical theories and criminal psychology, this piece interrogates the relationship between consumption, power, and insatiability. It dissects the human psyche through personality and cognitive psychology, examining the depths of desire—whether for food, power, or control—and how such desires manifest in systems of governance and oppression. 

Moral Ambiguity & Governance: Borrowing from social psychology and histories of resistance, “HUNGER” critiques how moral justifications are constructed around consumption. It questions: Who gets to eat? Who dictates the rules of desire? And how does one’s access to resources dictate their moral choices? 

Cultural Perceptions & Social Movements: The work cross-examines cultural and psychological differences in defining sin, pleasure, and control. By incorporating cross-cultural psychology and evolutionary psychology, it reveals how societies justify their hunger—whether literal or metaphorical—through violence, deception, and systemic exploitation. 

Narrative & Theatrical Metaphor: The performance begins with a room filled with objects and carbon-based life forms—mammals, if you will. The law of the jungle prevails, but is survival truly dictated by strength alone? Or is desire the true governing force?

• The piece probes the fundamental nature of hunger: is it biological, psychological, or ideological?

• It introduces a provocative dialogue on the construction of power through consumption and control.

• It explores how indulgence in violence and deception becomes an accepted norm, despite the toxic consequences.

• It satirizes the pleasure derived from destruction, drawing parallels to historical patterns of oppression and systemic hunger.

Costumes & Power Dynamics:

Performers wear uniform black suits, symbolizing authority and power structures. The act of removing and transferring these suits throughout the piece serves as a metaphor for shifting power dynamics. In the final moment, one performer burdens another with all the suits, revealing that true power often exists in silent observation, only to eventually claim everything without resistance. 

Props & Spatial Metaphors:

• Plates & Wine Glasses: Positioned at the stage apron, these objects break the fourth wall, immersing the audience into the physical and symbolic act of consumption. 

• Table & Tablecloth: The dinner table transforms into a battlefield of greed, a devouring ground that represents both nourishment and destruction—showcasing human tendencies toward excess, conflict, and domination.

• Mattress: Represents primal human desires—sex, comfort, and personal struggle—contrasting with the structured systems of power. 

• Actor-Dressed Mannequin: Symbolizes an omnipresent yet anonymous force of power, watching in silence while subtly controlling the unfolding events. 

• Chinese Weiqi Chess Board: A performance art segment where a dancer continuously waits for the red-cloth-tangled mannequin to make a move. This section satirizes the passive negotiation with unseen forces, depicting a power that dictates outcomes without revealing itself. 

• Apple & Cultural Duality: A performer eats an apple with both chopsticks and a fork, referencing multiple cultural interpretations—from the apple as a symbol of health to its biblical connotation of temptation and sin. This moment highlights the omnipresence of power across cultural contexts. 

Movement as Social Commentary:

Performers enact cycles of resource generation and depletion, mirroring societal patterns of exploitation and redistribution. The physicality of movement embodies consumption, waste, and renewal—bold gestures depict the mass production of low-quality goods, constantly cycling through different groups oblivious to the deeper truths of power shifts. 

Ultimately, “HUNGER” does not seek to provide answers. Instead, it amplifies the contradictions within human nature—our endless pursuit of fulfillment, our simultaneous fear and embrace of toxicity, and our unrelenting hunger for more, even when we are already full.

5. “Off to On” (A Meditation on the Illusion of Self, Cyclical Time, and Transcendence) 

Program notes: 

"no-self" (anatta or anātman),  five aggregates (skandhas) — form (rūpa), sensation (vedanā), perception (saṃjñā), mental formations (saṃskāra), and consciousness (vijñāna), dependent origination (pratītyasamutpāda), suffering (dukkha), enlightenment (bodhi) and liberation (nirvana) – Tibetan Buddhism

“Who am I?”

“Where do I come from?”

“Where am I going?

Rooted in Tibetan Buddhist and Daoist philosophies, “Off to On” disrupts the linear chronology of the project, serving as an existential rupture—an invitation to view our being from a mysterious, sacred perspective. This duet integrates performance art elements and movement motifs drawn from pilgrimage, worship, and ritual, including the Tibetan prostration posture. The interaction between two performers conjures a sacred tableau of transmission, contemplation, and struggle, evoking the tensions between delusion and clarity, selfhood and dissolution.

“Off to On” situates itself at the intersection of embodiment, spiritual praxis, and post-humanist thought. The piece resonates with the project ENTROPY, interrogating the paradox that the self cannot exist without the other—mirroring both the Buddhist concept of dependent origination (pratītyasamutpāda) and the conflicts within our delusional sense of self.

The platform functions as a podium, an orientational metaphor that elevates the self from the ground, signifying its perceived special status. The long red fabric serves multiple symbolic roles: constraint, connection, and sacrifice, while also referencing the Tibetan Hada, a ceremonial scarf offered as a blessing for well-being.

Interrogating the Self: Buddhist and Post-Humanist Perspectives

At the core of “Off to On” is the Buddhist doctrine of no-self (anatta or anātman). Tibetan Buddhism teaches that what we perceive as the “self” is an illusion, a transient configuration of the five aggregates (skandhas):

1. Form (rūpa): The physical body, subject to impermanence.

2. Sensation (vedanā): The fluctuating experiences of pleasure, pain, and neutrality.

3. Perception (saṃjñā): The mind’s recognition and labeling of experiences.

4. Mental formations (saṃskāra): The conditioned thoughts and emotions that shape action.

5. Consciousness (vijñāna): The awareness that binds these aggregates together, yet is itself impermanent.

This dissolution of selfhood is reflected in the movement motifs, as the body moves through states of existence—birth, life, death, and rebirth—mirroring samsara, the cyclical nature of existence. The fluid, continuous movement resists static identity, embodying the impermanence at the heart of Buddhist philosophy.

Post-humanist thought aligns with this perspective by challenging the supremacy of human consciousness, proposing that the “self” is not an autonomous entity but a relational, shifting construct shaped by interactions with other beings, nature, and technology. In this light, “Off to On” dissolves boundaries—not just between life and death, but between human and non-human, individual and collective, real and illusory.

Ritual, Pilgrimage, and Sacred Transmission

The solo movement invokes the motif of pilgrimage, referencing the Tibetan practice of full-body prostration—an act of surrender, devotion, and transformation. By incorporating this posture, “Off to On” evokes the dual experience of reverence and struggle: the search for transcendence and the weight of earthly existence.

The duet element represents a sacred transmission, where knowledge, memory, and struggle pass from one being to another. This act echoes both religious rites of passage and the philosophical challenge of self-recognition: Who am I? Where do I come from? Where am I going?

Daoist principles, particularly Dao fa zi ran (道法自然)—the belief that the Dao follows the natural order—inform the fluidity of the choreography. The piece reflects the Daoist notion that human existence is not separate from the cosmos but part of its ceaseless transformations. By surrendering to this flow, the work dissolves artificial distinctions between the self and the world, echoing the Buddhist pursuit of liberation (nirvana).

Dissolution and Transcendence

By weaving together Tibetan Buddhist and Daoist philosophies, “Off to On” serves as a meditation on identity, impermanence, and transcendence. The performers’ movements create a space where existence is not linear but cyclical, where selfhood is not fixed but fluid. The piece challenges the audience to witness their own impermanence—not as loss, but as liberation from illusion.

Through this dissolution of boundaries—between self and other, past and present, body and spirit—the work invites contemplation: Can we embrace the truth of no-self? Can we release our attachments and exist as part of the greater, ever-evolving cycle?

Perhaps, in this act of letting go, we may finally step beyond illusion—Off to On.

6. “Fourth Wound” (Group performance investigating post-humanism and the digital era’s effects on identity) - “Future”

Program Notes:  

First Wound: The Fall from Innocence

Humanity’s lost purity and disillusionment.

Second Wound: The Fragmentation of Self

The fragmentation of identity and the understanding that the self is not a singular, cohesive entity.

Third Wound: Cosmological Displacement

Humanity’s existential crisis in the face of an indifferent universe where traditional narratives have lost their power

Fourth Wound: Digital and Synthetic Relationality

What it means to be alive and how agency is distributed among humans and machines.

Concept and Theoretical Framework  

This piece employs Intersectionality, Cultural Critiques, Posthumanism Theory, and Cultural Studies” to amplify its conceptual depth. It interrogates the question: in the posthuman era, what will be the future of religion? Religion, historically wielded as a tool of power and control, faces an uncertain trajectory as we enter an age dominated by technological advancement and evolving societal norms. Will humanism-centered religions persist, or will they become obsolete?

Inspired by Daoism and Tibetan Buddhism, which emphasize interconnectedness and the fluidity of existence, this piece aligns with posthumanist ideals that transcend anthropocentrism. The work manifests these ideas through symbolic representations of time, the human experience, and the emergence of non-human elements. 

Sound Score  

The soundscape fuses an aria from the Western tradition with Eastern chanting, generating an atmosphere that is simultaneously tranquil and disorienting. This synthesis of distinct sonic elements mirrors the tension and harmony between past and future, tradition and transformation.

Staging and Props  

Minimalist staging accentuates the cyclical nature of human development, suggesting an endless loop of repetition. Six inflatable mannequins descend from the sky to the ground in the second half of the performance, symbolizing the silent yet profound arrival of the posthuman era. The choreography, marked by abundant repetitive movements, critiques the repetitive trajectory of human history and evolution. 

The performance concludes with a striking image: a performer emerges with a pregnant belly and gives birth to a long red fabric while other performers—representing diverse identities alongside the mannequins—embody human, non-human, robot, and cyborg entities. This moment encapsulates the central inquiry of the piece: what will define the next generation of life? The red fabric serves as both an umbilical cord and a metaphor for blood, signifying multiple layers of meaning.

Audience Engagement and Interpretation  

Rather than providing definitive answers, this piece acts as a conceptual container, allowing the audience to project their own interpretations onto it. By leaving some elements ambiguous, the performance invites prolonged contemplation, ensuring that the questions it raises linger beyond the immediate experience.

This piece envisions a future where identity is fluid and interconnectedness is acknowledged as fundamental. By challenging anthropocentric narratives and embracing the complexities of posthumanism, it encourages a reevaluation of humanity’s role within the cosmos. The work serves as both a meditation and a call to action, reminding us that the future is not solely ours to shape but a collective journey towards unity and understanding within the intricate web of existence.

Installation Art Components

1. Nigaogemao 

2024

Hair, Paper, Tape

Hair, particularly that of women, has long been imbued with symbolic meaning throughout history. We are often praised for its beauty, investing time and resources into its care. Yet, when hair reaches the end of its lifespan or is influenced by physiological and psychological factors, it is unceremoniously discarded, its value diminished.

This dichotomy mirrors the broader societal treatment of women - praised for our appearances but dismissed when we no longer fit societal ideals. We are expected to conform to standards of beauty and cleanliness, yet our natural processes, such as shedding hair, are met with disdain and inconvenience.

Collecting and preserving these strands becomes an act of defiance against societal expectations and norms. It challenges the notion that women's experiences and contributions are trivial or disposable.

In contemporary Chinese, there is a slang expression, "你搞个毛," which translates to "What are you fucking doing?" or "What's the point?", but the direct translation will be "What are you fucking around the hair". Using hair as a metaphor to describe something useless or absurd. I confront the dismissive attitude embedded in expressions like "你搞个毛," which diminishes the significance of women's voices and experiences. Through this project, I reclaim agency over my narrative, elevating womanhood's ordinary and overlooked aspects to a place of significance and reverence. In doing so, I try to challenge the status quo and assert the inherent value of all women's experiences, no matter how seemingly mundane or trivial.

In expanding on the concept of hair, its symbolism, and its intersections with socio-political contexts, it is essential to ground this exploration within the framework of contemporary art history and feminist discourse. Historically, hair has been a powerful symbol across various cultures, often utilized to reflect power, beauty, and identity. In the context of Western societies, the fixation on women’s hair can be seen as part of a broader aestheticization of the female form, where beauty standards are socially constructed, commercialized, and policed (Mussell, 2016). From the objectification of women’s bodies in the media to the rigid constraints of prescribed femininity, women’s hair becomes a battleground for control, power, and self-expression.

In the wake of the feminist movement, artists like Judy Chicago and Barbara Kruger have explored the intersection of body politics and art, challenging traditional norms and presenting alternatives that dismantle patriarchal aesthetics (Schneider, 2016). Much like these artists, this project seeks to use the ordinary, often discarded, strands of hair as a subversive tool to question the systemic undervaluing of women’s experiences. Hair, when discarded, is emblematic of how society dismisses women as they age, change, or step outside idealized standards. In a socio-political context, this act of rejection symbolizes the marginalization of women who no longer fit the narrow confines of youthful beauty or productive usefulness (Beauvoir, 1949).

The act of collecting and preserving hair serves as a reclamation of autonomy over the narrative surrounding femininity. The physical process of collecting discarded strands and transforming them into an object of reverence directly challenges the pervasive belief that women’s labor, whether emotional, physical, or intellectual, should remain invisible unless it conforms to an idealized standard of usefulness or aesthetic value (Bartky, 1990). This rejection of objectification mirrors broader feminist goals of dismantling harmful societal expectations, highlighting the ways in which women’s bodies and experiences have been commodified and silenced.

Furthermore, the use of hair in this project speaks to the tension between tradition and modernity within contemporary Chinese culture. The phrase “你搞个毛” (literally, “What are you messing with the hair?”) is laden with dismissive connotations, representing how women’s voices and actions are often trivialized. This language reflects a larger cultural context where women’s struggles and expressions of agency are often deemed irrelevant or nonsensical, reinforcing gendered power structures (Evans, 1997). By incorporating this colloquialism, the work not only critiques the specific cultural dismissal of women but also challenges the widespread, global tendency to trivialize women’s everyday experiences.

In referencing this slang, the work expands beyond the visual to encompass a deeper critique of linguistic and cultural structures that marginalize women. The act of reclaiming and preserving hair, then, becomes a way to elevate both the individual and collective voice of women, rendering visible the everyday labor and emotional resilience that often goes unacknowledged. It reflects the feminist assertion that the personal is political, drawing attention to the undervalued yet profound aspects of womanhood (Lorde, 1984).

Drawing from contemporary art history’s ongoing dialogue between materiality, body, and identity, this work pushes against the confines of traditional aesthetics by transforming something once discarded into an artwork that demands attention, respect, and contemplation. Through this process, the work transcends mere commentary on societal beauty standards, instead acting as a reconfiguration of agency. It challenges the viewer to reconsider the value placed on women’s experiences, elevating them from the banal to the profound. This piece ultimately serves as a meditation on how societal norms shape perceptions of self-worth, how they dismiss and objectify women, and how through artistic practice, those systems can be deconstructed and reimagined.

2. Screaming 

2024

Water, Xuan Paper

The Chinese script, developed from pictographs, is a system of symbols that convey meaning. One of the first characters we learn as children is “人” (person, human, man). Its form is simple—two strokes(“丿” and “㇏,” 一撇一捺）—yet our ancestors taught us that this character embodies deep complexity. They say that “人” is the hardest to write, reflecting the difficulty of truly understanding what it means to be human. In Chinese culture, there is a saying: “练字，练心，写字，做人, (Practice writing, cultivate the heart; compose characters, be a man). This view holds that calligraphy is not just an art, but a practice of self-cultivation. Writing, in this sense, goes beyond technique and posture, revealing one’s values, mindset, and even moral character. However, writing the character “人” does not mean one has learned to be human. We have written “人” countless times, attempting to become one, but what does it mean to be truly human?

“Screaming” draws on events from late 2022 in China, when citizens protested strict lockdown policies. In a tragic case in Urumqi, a sealed building caught fire, resulting in fatalities and public outrage. Protesters held blank sheets of paper as a silent form of resistance, known as the “White Paper” or “A4 Revolution.” It also acknowledges that the struggle for human rights is global, affecting countless marginalized communities facing repression. This installation serves as a tribute to those suppressed voices, crossing borders to bear witness to the ongoing fight for dignity and freedom.

With the intention to give a voice to the voiceless—those who endure pain, fear, and the longing for freedom. These calligraphy marks of “人” represent resilience, silent protest, solidarity, and shared suffering, preserving the collective strength of expression in a world where human rights remain under threat. Over time, the inscriptions will fade, showing the fragile nature of suppressed voices, a metaphor for hidden truths and silenced voices.

To deepen the conceptual framework of this project, it is crucial to position it within a socio-political context that reflects both historical and contemporary struggles surrounding identity, expression, and freedom. The Chinese script, especially the character “人” (ren, person, human), is not only a symbol of individuality but also a profound reflection of collective consciousness, as it embodies the tension between personal identity and societal norms. Writing in Chinese calligraphy has long been associated with self-cultivation, and the act of inscribing “人” becomes more than a technical exercise; it becomes an engagement with the self, a dialogue between individual existence and social obligation (Leung, 2012). This duality is significant in understanding the human condition within the broader socio-political landscape, where personal agency is often suppressed or manipulated by larger structures of power.

The protests of late 2022 in China, particularly the White Paper Revolution, where blank sheets of paper became a symbol of resistance, highlight the tension between freedom of expression and state control. The use of blank paper, as a form of non-verbal protest, brings to light the paradox of censorship in a society that suppresses even the most basic forms of speech (Sullivan, 2023). The act of holding a blank sheet of paper represents the absence of a voice in a system that stifles dissent. This concept can be understood within the framework of historical movements for freedom, where silence becomes a form of protest, an unwillingness to accept a state of oppression. It serves as an ironic commentary on the devaluation of individual voices within a tightly controlled political landscape.

The connection between the materiality of water and Xuan paper further amplifies the installation’s philosophical depth. Water, in Chinese culture, often symbolizes fluidity, change, and the power of nature to transcend rigid structures (Feng, 2018). Water, like human expression, can either conform to societal molds or resist them, shaping itself according to the circumstances of its containment or freedom. The ephemeral nature of water marks the fragility of human rights and the fragility of voices that are oppressed or silenced. Xuan paper, renowned for its delicate and absorbent qualities, becomes a medium through which these struggles are both preserved and ultimately allowed to fade—suggesting the temporality of resistance, but also the potential for renewal and transformation (Wu, 2009).

In this installation, the calligraphic strokes of “人” etched in water on Xuan paper represent the ongoing struggle for human dignity and freedom. As the marks fade, they embody not only the impermanence of protest but also the resilient spirit of those whose voices are often erased. This process is a metaphor for the collective memory of those who are subjected to repression, whose voices—while suppressed—continue to resonate in subtle ways that defy complete silencing. Through this work, the artist draws attention to the cyclical nature of human rights struggles: as one voice is silenced, another rises to take its place. The gradual fading of the inscriptions is not a statement of defeat, but rather a recognition of the endurance of these voices across time and space.

This work extends beyond its immediate context in China to engage with global struggles for human rights, drawing parallels between the oppression of marginalized communities worldwide. The desire for freedom, justice, and dignity transcends national borders, resonating with all those who fight against tyranny, censorship, and inequality (Mohanty, 2003). By invoking both historical and contemporary instances of repression, this piece situates the act of protest within a larger narrative of resistance, solidarity, and the collective struggle for human rights.

Ultimately, this installation invites the viewer to reflect on the fragile yet enduring nature of human expression. It challenges the viewer to consider the extent to which societal structures can suppress or distort human identity, and how through artistic practice, these silenced voices can be preserved, amplified, and transformed.

Documentary Film

I don't even know what I'm looking for,

This world is constantly flooded with a barrage of information—positive or negative—every moment of the day. But what about nature, our own identities, and all the things we take for granted? Where do we come from? Who are we? Where are we? In our relentless pursuit of the future, we may overlook the beauty that exists in the present. So, who are we really?

To further develop the conceptual depth of this documentary film, it is important to examine its thematic layers through the lens of contemporary art, socio-political context, and philosophical inquiry. In a world overwhelmed by constant information flow and rapid technological advancements, I Don’t Even Know What I’m Looking For delves into existential questions and explores the profound, yet often overlooked, connections between humans, animals, technology, and nature. This approach situates the documentary within a framework of both personal and collective introspection, where the search for meaning extends beyond the confines of modernity and the distractions it generates.

The film captures a profound return to one’s roots, physically and metaphysically, within the Tibetan Buddhist context. Tibetan Buddhism, with its emphasis on interconnectedness, impermanence, and the fluidity of existence, offers a rich backdrop for the exploration of human relationships, not only with other humans, but also with the natural world and technology. Tibetan philosophical views on life and death, the transitory nature of all things, and the collective responsibility toward all beings, resonate deeply with the central question posed by the film: “Who are we really?” (Chodron, 2011). By co-filming with your sister, the project becomes a shared journey of discovery, emphasizing the interpersonal relationships that are central to understanding one’s place in the world.

The exploration of human and animal relationships within the documentary also underscores the idea of kinship with all living beings. In Tibetan culture, animals are often seen as equal participants in the cycle of life and death, and their connections with humans are governed by a deep respect for life’s interconnectedness (Tsering, 2013). The presence of animals within the film acts as a reminder of our collective responsibility to the planet and its creatures, reinforcing a message of unity and respect. The relationship between human and nature is similarly explored through meditative scenes, where the beauty of the natural world is juxtaposed with humanity’s environmental impact. These connections point to the contemporary need for re-establishing harmony with nature as a means to address the ecological crises of our time.

The documentary’s examination of human-technology relationships speaks directly to the pressing philosophical questions regarding the role of technology in modern existence. As we are increasingly immersed in the digital world, it becomes crucial to ask whether technology serves as a tool for liberation or a force that isolates and alienates us from our true selves (Turkle, 2011). The film interrogates this duality, using the Tibetan Buddhist understanding of mindfulness and presence to suggest that technology, while transformative, should not overshadow the authentic human experience or our connection to nature and spirituality. By presenting this tension, the documentary encourages reflection on how technology might be integrated into our lives without eroding the connections that form the basis of our humanity.

The project also connects to the larger Entropy performance piece by offering a restorative counterpoint to its heavier themes. Where Entropy addresses the disintegration of systems—whether social, environmental, or personal—through intense performance art, I Don’t Even Know What I’m Looking For serves as a meditative space for emotional recovery and reflection. The slow pace and contemplative rhythm of the documentary provide a soothing contrast, giving viewers a moment to process and restore themselves after the complex and emotionally charged performances of Entropy. This contrast between the chaos of entropy and the calm of reflection becomes integral to the healing process, allowing the audience to engage in a form of emotional recuperation through shared introspection and connection with the natural world. The slow, meditative visuals encourage a return to a more grounded state, helping to slow down the rapid pace of life that often leaves us disconnected from ourselves.

In the context of art and healing, the documentary contributes to a broader dialogue on how contemporary art can serve as a space for emotional and psychological recovery. Just as the rituals in Tibetan Buddhism provide a method of processing life’s suffering and embracing impermanence (Gyalwang, 2015), I Don’t Even Know What I’m Looking For offers a space for viewers to reflect on their own existence, identity, and relationship to the world around them. In doing so, the film acts as an antidote to the over-stimulation of modern life, promoting mindfulness and encouraging self-exploration in the face of overwhelming external demands.

By intertwining these themes, the documentary creates a multi-layered narrative that offers viewers not just answers but a space for ongoing questions. It draws from the traditions of Tibetan Buddhism and contemporary art, creating a dialogue between past wisdom and modern existential concerns. In this way, the film invites its audience to slow down, reflect, and reconnect with the simple beauty of the present, while simultaneously confronting the complexities and challenges of the contemporary world.

Conclusion

This research journey has been an exploration of the interconnectedness between philosophy, art, and identity—an endeavor that has been as transformative for me personally as it has been intellectually. Through integrating Tibetan Buddhism, Daoism, posthumanism, and feminist methodologies into my artistic practice, I have encountered both profound theoretical insights and practical applications that have reshaped my understanding of identity, gender, and power structures. As I conclude this thesis, I reflect on how these frameworks not only informed my art but also offered new possibilities for understanding the fluidity of human experience and the potential for transformation within societal systems.

Reflecting on the Research Journey

The integration of Tibetan Buddhism and Daoism in this research offered a paradigm shift in how we perceive identity and power. Tibetan Buddhism’s emphasis on impermanence and non-self, and Daoism’s cyclical nature of existence, directly challenged traditional, fixed views of human identity and societal structures. I have found that these philosophies, when applied to artistic practice, allow for a reimagining of the human form—both in its physicality and its metaphysical presence. Through movement and installation art, I sought to embody the fluidity, transience, and interconnectedness that these philosophies espouse. This exploration has not only deepened my understanding of these Eastern traditions but has also illuminated the potential for art to act as a vehicle for spiritual and philosophical inquiry, offering audiences a space to experience the dissolution and reconfiguration of selfhood.

Posthumanism, with its rejection of the human/technology divide, expanded the scope of this research, pushing me to question the boundaries between human, machine, and non-human entities. This philosophical framework allowed me to critically engage with the rapid technological advances that shape our world today. As I incorporated multimedia, digital technologies, and performance into my work, I found that posthumanism offered new insights into how identities are no longer static but are increasingly influenced by the technological, social, and cultural forces surrounding us. Through this lens, I explored how power dynamics and gender structures are evolving in response to the fusion of the human and the technological. The act of combining these elements in my work highlighted how identities are becoming increasingly entangled with machines and artificial intelligence, presenting both opportunities and challenges for reimagining power relations.

Feminist methodologies provided a crucial framework for understanding the social construction of gender and power. Intersectional feminism, in particular, allowed me to examine how gender, race, and sexuality intersect to shape identity and how these identities are fluid and subject to transformation. This perspective was invaluable in understanding the ways in which power operates within societal structures and how art can be a means of challenging and deconstructing those hierarchies. Feminism’s emphasis on the performativity of gender further influenced my artistic work, allowing me to explore how gendered identities are constructed, performed, and reimagined through movement, materials, and visual elements. The integration of feminist theory in my work challenged me to engage directly with the lived experiences of marginalized groups and offered an opportunity for empowerment through artistic expression.

Answering the Research Questions

• How do Tibetan Buddhism and Daoism philosophies, with their emphasis on impermanence, non-self, and the cyclical nature of existence, challenge traditional, fixed views of human identity and power structures?

Through my research and artistic practice, I have found that Tibetan Buddhism and Daoism present a radical departure from the Western conception of identity as fixed and unchanging. These philosophies challenge traditional power structures by highlighting the fluid and impermanent nature of existence. By engaging with these ideas through my art, I have illustrated how power and identity are not static but are in constant flux, shaped by forces beyond our control. The use of shifting and transforming materials in my installations and the constantly evolving movement in my performances reflect this central tenet—identity and power are dynamic, impermanent, and interconnected with the larger flow of existence.

• How can posthumanism, with its rejection of the human/technology divide, expand our understanding of identity and power in the context of technological advances and feminist theory?

Posthumanism has deepened my understanding of the intersections between technology, identity, and power. By rejecting the human/technology divide, posthumanism has allowed me to explore how the body, once understood as central to identity, is increasingly shaped and influenced by technological forces. In my work, technology has become an integral part of reconfiguring identities, illustrating the dissolution of boundaries between the human, the non-human, and the technological. Feminist theory provided a lens through which to examine how technology is intertwined with gender and power, revealing how both technological advancements and gender constructions can reinforce or challenge existing hierarchies.

• How can integrating Tibetan Buddhist and Daoist philosophies with feminist methodologies help reveal the intersections of gender, spirituality, and power, offering new perspectives on the fluidity of human experience?

Integrating Tibetan Buddhist and Daoist philosophies with feminist methodologies allowed me to uncover the fluidity of gender and power. By rejecting fixed, binary conceptions of gender and power, these philosophies provide a more nuanced understanding of how identities can shift and transform. Feminism’s focus on the social construction of gender, when combined with the fluid and cyclical nature of Tibetan Buddhism and Daoism, offers a framework through which to view gender not as an inherent quality but as something dynamic and transformative. My work aimed to create a space where gender, spirituality, and power are not fixed but are seen as processes of ongoing transformation.

• How can art, as a reflective medium, provide insights into the dissolution and recreation of human identity, gender, and power structures through the lens of Tibetan Buddhism, Daoism, posthumanism, and feminist theory?

Art, through its ability to create immersive and transformative experiences, has proven to be a powerful tool for reflecting and critiquing the dissolution and recreation of identity, gender, and power. In my artistic practice, I used movement, installation, and multimedia to challenge fixed identities and power structures, embodying the fluid, cyclical, and transformative ideas found in Tibetan Buddhism, Daoism, posthumanism, and feminist theory. Art allows the viewer to engage directly with these concepts, experiencing the impermanence of identity and the possibility of transformation through an embodied and interactive medium.

• What role does art play in reframing the understanding of technological and spiritual evolution, particularly in terms of identity, gender, and power, when informed by Eastern philosophies and posthumanism?

Art plays a crucial role in reframing our understanding of the intersection between technology, spirituality, and identity. By using artistic mediums to merge the technological and the spiritual, I have explored how technology can be integrated into the human experience in ways that transcend traditional boundaries. Drawing on Eastern philosophies and posthumanism, I have illustrated how technological evolution does not need to be separate from spiritual and identity transformation but can be part of a continuous process of growth and redefinition. Art allows us to envision a world where technology, spirituality, and identity are not opposing forces but are interwoven and mutually transformative.

Proposing New Avenues for Further Research and Artistic Practice

This research opens up several avenues for further inquiry and exploration. One potential direction is to continue exploring the intersection of spirituality and technology through emerging forms of digital art, virtual reality, and AI-based performance. These technologies offer a new platform for interrogating the boundaries between the human and the technological, allowing for deeper explorations of identity and power in a rapidly changing world.

Another avenue for further research lies in the continued exploration of gender fluidity and power structures within the context of Eastern philosophies and feminist thought. By expanding the frameworks of Tibetan Buddhism, Daoism, and feminist methodologies, we can further investigate how these philosophies can contribute to reimagining gender and power in more inclusive and fluid ways.

Finally, my artistic practice will continue to evolve by incorporating new technological advancements, interactive elements, and global perspectives. I am particularly interested in the potential for collaborative, transdisciplinary work that combines these diverse philosophies with contemporary performance, digital media, and interactive technologies. This exploration will allow me to continue pushing the boundaries of art as a tool for social transformation, creating spaces where identity, gender, and power are constantly in flux and open to reinvention.

In conclusion, this research has not only provided me with a deeper understanding of the philosophical underpinnings of identity and power but has also informed my artistic practice in ways that allow for the continual exploration and transformation of these concepts. By merging Tibetan Buddhism, Daoism, posthumanism, and feminist theory, I have gained valuable insights into the fluidity and interconnectedness of human experience, and I look forward to continuing this journey of artistic and intellectual exploration.

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