A video performance of the hand gestures of the “1000 armed Guanyin” (Avalokiteshvara from Mahayana Buddhism), 千手觀音.The 1000 Armed Sound Perceiver (2021) explores the co-affecting relations between the user and their digital media bodies. The reverberating relations between digital media and users are performed through the infinitely multiplying, expanding, and contracting hand gestures, as they literally become “1000 armed”.
Guanyin also means “sound perceiver” in Chinese, which also links up with Alvin Lucier’s sound work, “I am sitting in a room” (1981). For the “sound perceivers”, the world within and without are disregarded, replaced by a mutually circuitous understanding of “worlds as things we make and that make us”.
This understanding of the techno-human entity in digital media is driven by the sympathetic practice of “no self-hood” (coined by Zhang). As Guanyin is also the embodiment of compassion and shares the suffering of all beings by becoming like each of them, “no self-hood” is a self-abnegating being-hood that identifies with each object contemplated. This paradoxical self-diminution leads to self-expansion through the infinite ripples amongst beings and their environment.

“千手观音”的表演视频(2021年)探索了用户和数字媒体主体之间的相互影响关系。数字媒体和用户之间的互动关系通过无限增加、扩 展和收缩的手势来表示，因为实际上，也有“千手”的参与。
观音，全称“观世音”，是梵文Avalokites' Vara的意译，又译作“光世音”、“观自 在”、“观世自在”、“观音声”等。这与阿尔文·卢⻄尔(Alvin Lucier)的音学作品《坐在房里》(I’m sitting in a room)相联系。对于“观音”，内在及外在世 界都不再是主体，取而代之的是相互循环的认知——“所造物造我之世界”。
对此数字媒体中“机器人类”个体的认知是源于“无我”(作者的用词)的共情式 做法。因为观音也象征着慈悲，并且通过成为世界的每个生灵，来经历每个生灵的痛苦，所以“无自我”是一种与任何客观物件相通思维下的自我克制。这种矛盾的自我减缩转化为通过周边所有的生命体及环境的自我扩展。