This essay argues that “legibility” is not an on–off switch for expression, but a visibility regime jointly produced by categorization, risk assessment, and media and institutional infrastructures.

Why do swimming pools make some of us uneasy? The most common answer is: dirty. But a lot of the time, what hits first isn’t hygiene. It’s a more primal visual and bodily reaction. You think you’re looking at water. Your brain is reading risk.

Spectatorship refers to relation. It includes who is watching, how they are watching, in what context the work is being seen, who interprets it, who translates it, who misunderstands it, and who carries it somewhere else so it can continue to live.

Long ago, people already urged me to write my autobiography, but back then I thought: “Me? Why me? Who am I?” I seem to have asked myself that across different times and spaces. But now I write for myself.

Premature Death of the “Post-Work Era” Three Predicaments under Knowledge Centralization: Aesthetic Bullying, Collapse of Credibility, and Value Vacuum

There is a moment before a work acquires a category. Before it becomes performance, moving image, research, or documentation. Before it is filed under dance, installation, theory, or media art. That pre-categorical moment is where STRATUM begins. Much of what shapes our cultural memory first appears in rehearsal rooms, temporary studios, late night notes, fragmentary videos, and quiet conversations, long before it enters a program or an archive. STRATUM takes this interval s