No Money, No Talk, No Body I Talk is a long-term collaborative effort between Racelar Ho, Dragon Zheng, and Zhi’ai Chen. It contains a disorienting, disordering, non-linear, chaotic, irrational, and self-contradictory space-time, presenting an imaginative-based, self-reflective image of the past, present, and future relationship between humans and machines. This universe stems from pre-human time-space to post-human time-space: pre-human era, modern time, contemporary, self-reflection and imaginary rebirth, and imaginative utopia future.
Machines are objective, material objects that exist in the physical world. The randomness in these films is similar to the default setting of the labelling algorithm in A.I. philosopher. We saw the mechanical graphic’s themselves. The mechanical eye sees all. It is a human organ that is closer to reality. The “weak” fear that this objective observer will eventually objectify them, and an immoral organisation fears its insatiable quest for reality. The problem of others’ minds is humans versus machines, natural intelligence versus artificial intelligence. How can we tell if “others” share our mind and consciousness by observing their actions, discourses, and other emotional expressions? Any object that comes into contact with us has a somatic body. We will never know how “others” feel or sense, but only the outcome of their experience, which we can only capture and observe.
This work presents a unification of the experience in somatic and non-somatic body-image-rhetoric. These random, fractional, and even conflict discourses roam between different subjects. It is not a comprehensive and satisfactory expression but a complete identity experience
Racelar Ho is a digital media PhD student at York University and an artist, theorist, and curator. Her theoretical research and artistic practise are concerned with contemporary and post-human aesthetics, specifically the somatic and spatial geographies of emerging virtual environments, as well as the ways in which these are interactive, participatory, and thus sociologically significant processes. Infinite virtual environments, constructing worlds of poetic thoughts and Zen dialogues in different dimensions, and exploring idealistic and transcendent worlds of vitality are some of the ways she has explored these ideas, and as a form of resistance to being subsumed within the burgeoning industry, she is interested in infinite virtual environments, constructing worlds of poetic thoughts and Zen dialogues in different dimensions, and exploring idealistic and transcendent worlds of vitality are some of the ways she has explored these ideas.