Forget Tomorrow explores the relationship between the individual and media, as well as the connections between information overload, multiple identities, and the internal mechanisms through which information is processed.
Within the work, a human body with a prominently exposed nervous system is projected into a simulated space. Streams of unclassified information continuously emerge, while users interacting with the installation may choose whether or not to absorb them. Once selected, the information is “digested” by the body and eventually disappears. However, every act of selection accelerates the body’s deterioration, until it ultimately disintegrates and enters a state of waiting for “rebirth.”
This mechanism reflects the condition of individuals within today’s information environment. We are increasingly vulnerable to becoming trapped within “filter bubbles”: passively receiving opinions through various channels while algorithms continuously reinforce content that we have previously liked, agreed with, or are most likely to click on. Over time, this process can gradually weaken our capacity for active thought and independent judgment. What makes the filter bubble particularly unsettling is precisely the way it allows people to become increasingly rigid and biased while remaining within a state of comfort.
The work therefore concerns not only the process through which information is received and digested, but also seeks to make viewers aware of the existence of such informational enclosures and to consider how they might actively break through them. In this respect, the work draws upon Socratic thinking as an underlying conceptual thread. To acknowledge one’s own ignorance—the idea of “knowing that one does not know”—is the starting point of genuine thought. Only by approaching established beliefs with humility and critical caution, continuously questioning the information we receive, stripping away appearances, and searching for underlying structures can we begin to reclaim agency over our own judgment.
In this sense, the work also points towards the possibility of an “examined life”: not a life passively fed by algorithms, but a mode of existence defined by active reading, active searching, and active thinking.
Visually, the work consists of three video sequences distinguished by different chromatic states. The imagery progresses from black and white to red, before eventually entering a state resembling a malfunctioning or corrupted screen. This transformation creates a gradual progression on both emotional and perceptual levels. At the same time, it symbolizes the individual’s changing condition under the continuous influx of information: from relatively detached observation, to emotional involvement, and finally to the imbalance, collapse, and distortion of the cognitive system.
The corrupted screen is therefore not merely a visual malfunction. Rather, it becomes a perceptual landscape produced by the simultaneous disordering of the mind and the medium itself, reinforcing the work’s exploration of the relationships between critical thought, sensory experience, and informational violence.
Diagrams of meridians and chakras are arranged through dotted lines. Their visual structure is inspired by traditional Chinese medicine, while also recalling the network architecture proposed by Paul Baran in his influential 1964 work On Distributed Communications Networks. In this model, a network is understood as a system composed of interconnected nodes, each capable of acting as an agent that sends and receives data while being organized through different structural configurations.
This concept can therefore be compared to the human body. The body itself may similarly be understood as a vast information-processing machine. Information carried by external media is absorbed, abstracted, translated, and processed through an internal system resembling a network, before ultimately dissolving into nothingness. The body becomes both the terminal through which information circulates and the site in which its collapse and reorganization take place.
Forget Tomorrow will be deployed within a virtual space through network connectivity, forming an installation capable of perceiving and responding to the passage of time. Through the collapse of the body, the mutation of images, and the accumulation of interactive actions, the work invites viewers to reconsider a fundamental question: in an era in which we are surrounded by information and shaped by algorithms, how do we perceive, how do we judge, and how might we regain the possibility of clarity, openness, and reason?
