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	<title>aio0o0o0</title>
	<link>https://00zhang.com</link>
	<description>aio0o0o0</description>
	<pubDate>Mon, 13 Jul 2026 23:16:28 +0000</pubDate>
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	<item>
		<title>Home</title>
				
		<link>https://00zhang.com/Home-1</link>

		<pubDate>Tue, 27 Jun 2023 21:31:32 +0000</pubDate>

		<dc:creator>aio0o0o0</dc:creator>

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00 ZHANG


&#38;nbsp;


	

CV


	

List of works


	

News


	

Contact


	

Story Mode




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	</item>
		
		
	<item>
		<title>List of works</title>
				
		<link>https://00zhang.com/List-of-works-2</link>

		<pubDate>Thu, 17 Nov 2022 01:52:30 +0000</pubDate>

		<dc:creator>aio0o0o0</dc:creator>

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		<description>

&#38;nbsp;List of works

	




	Work List
	Story Mode



	Prototype Series



2024&#38;nbsp; &#38;nbsp;

Inversion Prototype：0033DLC-2024.1



2024&#38;nbsp; &#38;nbsp;

Inversion Prototype：0033 Explained





2024&#38;nbsp; &#38;nbsp;

Inversion Prototype：0033







2023&#38;nbsp; &#38;nbsp; Prototype 0030 Iteration






2023&#38;nbsp; &#38;nbsp; 

Prototype0029 Apparatus





2023&#38;nbsp; &#38;nbsp; 

Prototype0028 Embyro






2022&#38;nbsp; &#38;nbsp; 

Prototype0026 The Mother






2022&#38;nbsp; &#38;nbsp; 

Prototype0023 RAM-(RADOM ACESS MEMORY)






2022&#38;nbsp; &#38;nbsp; 

Prototype0022 (beta)

2022&#38;nbsp; &#38;nbsp; 

Prototype0022






2021&#38;nbsp; &#38;nbsp; 

Prototype0021 PC

2021&#38;nbsp; &#38;nbsp; 

Prototype0021 MR (Mix Reality)





2021&#38;nbsp; &#38;nbsp; 

Prototype0020 Blessed blade of Chi






2020&#38;nbsp; &#38;nbsp; 

Prototype0019 Gen (NFT on Opensea)




2020&#38;nbsp; &#38;nbsp; 

Prototype0016 Angelos






2020 &#38;nbsp;&#38;nbsp; 
Prototype0014 part i + part ii




2020 &#38;nbsp;&#38;nbsp; 
Prototype0012 Mechanical Angel






&#38;nbsp; &#38;nbsp; 


Games 2023&#38;nbsp; &#38;nbsp; The Overture of Prototype Series2022&#38;nbsp; &#38;nbsp; Prototype0023 RAM-(RADOM ACESS MEMORY)2021&#38;nbsp; &#38;nbsp; &#38;nbsp;Post 2020 Experiment
Solo Show
2023&#38;nbsp; &#38;nbsp; Invite:00 Zhang, Zabludowicz Collection
2022 &#38;nbsp;&#38;nbsp; Shattered Heliocentric Orbit,&#38;nbsp;

Broadway Gallery


0: WorldingEphemeral Summers’ Diary

Chapter 1: Shattered Heliocentric Orbit, December 2020
Chapter 2:There are Men Who Loved the Memory Like a Mistress, September 2018 





Chapter 3: 

Concealed Seduction, March 2019 





Chapter 4: 

 Effervescent Under the Daylight, October 2018









	

Level 1 : The One
(Linear narrative)

Level 2: The
ZoneLevel 3: The
Centre Console














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	<item>
		<title>Chapter 2</title>
				
		<link>https://00zhang.com/Chapter-2</link>

		<pubDate>Thu, 17 Nov 2022 22:25:44 +0000</pubDate>

		<dc:creator>aio0o0o0</dc:creator>

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0: Worlding


Chapter2 There are Men Who Loved Memory Like a Mistress

22:46 PM London September 2018














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	<item>
		<title>Chapter 3</title>
				
		<link>https://00zhang.com/Chapter-3</link>

		<pubDate>Thu, 17 Nov 2022 22:34:31 +0000</pubDate>

		<dc:creator>aio0o0o0</dc:creator>

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0: Worlding


Chapter3&#38;nbsp;

Concealed Seduction


16:22 PM London March 2019










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	</item>
		
		
	<item>
		<title>Chapter4</title>
				
		<link>https://00zhang.com/Chapter4</link>

		<pubDate>Thu, 17 Nov 2022 22:44:43 +0000</pubDate>

		<dc:creator>aio0o0o0</dc:creator>

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0: Worlding


Chapter4&#38;nbsp; &#38;nbsp;

Effervescent Under the Daylight






06:56 AM London October 2019












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	</item>
		
		
	<item>
		<title>Bibliography</title>
				
		<link>https://00zhang.com/Bibliography</link>

		<pubDate>Thu, 17 Nov 2022 22:59:49 +0000</pubDate>

		<dc:creator>aio0o0o0</dc:creator>

		<guid isPermaLink="true">https://00zhang.com/Bibliography</guid>

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0: Worlding




Bibliography
















Bates, J., 2014. Hegel and the Concept of Extinction. Philosophy Compass, [online] 9(4), pp.238-252. 
Available at: [Accessed 31 December 2020].
Baudelaire, C., 1863. Mordernity. [online] p.42. Available at: 
[Accessed 31 December 2020].
BBC News. 2019. AI Fake Face Website Launched. [online] Available at: 
 [Accessed 31 December 2020].
Booktwo.org. 2020. The New Aesthetic and Its Politics &#124; Booktwo.Org. [online] Available at: 
 [Accessed 31 December 2020].
Buck-Morss, S., 1993. The Dialectics of Seeing: Walter Benjamin and the Arcades 
Project. Comparative Literature, [online] 45(1), p.90. Available at: 
 [Accessed 31 December 2020].
Burnham, J., 1969. a real-time system. Artform New York, p.p49.
Certeau, M. and Rendall, S., 2011. The Practice of Everyday Life. Berkeley, Calif.: University of 
California Press.
Cheng, I., Constable, J., Lewin, R. and So, V., n.d. Emissaries Guide to Worlding.
Contreras-Koterbay, S. and Mirocha, The New Aesthetic and Art.
Cramer, F., 2014. What Is a Post-Digital? A Peer-Reviewed Journal About, [online] 3(1), pp.10-24. 
Available at: [Accessed 31 December 2020].
de Man, P., 2012. Film Comment Vol. 48, No. 5, p12-13.
Deleuze, G., 1989. TIME and WALTER BENJAMIN. Cinema II: L'image-temps,.
Deleuze, G., Guattari, F. and Massumi, B., n.d. A Thousand Plateaus.
Dieter, M. and Berry, D., 2015. Postdigital Aesthetics. Basingstoke: Palgrave Macmillan.
Foucault Michel, 1981. Ethics. New York: Palgrave Macmillan.
Guyer, P., 2005. Values Of Beauty. Cambridge, UK: Cambridge University Press.
Haynes, D., 2008. Bakhtin And The Visual Arts. Cambridge: Cambridge University Press.
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Heikkila, M, 2008. At The Limits Of Presentation. Frankfurt am Main: Peter Lang.
Jing Daily. 2020. Why Is Post-COVID China Embracing A Cyberpunk Aesthetic? &#124; Jing Daily. [online] 
Available at: [Accessed 31 
December 2020].
Julian, K., 2018. Why Are Young People Having So Little Sex. The Atlantic,.
Jung, C., 2015. Synchronicity. [Place of publication not identified]: Routledge.
Krishnamurti, J., 1964. Think On These Things. New York: Harper &#38;amp; Row.
Landers, C., 2008. Serious Business: Anonymous Takes On Scientology (and Doesn't Afraid of 
Anything). Baltimore City Paper, [online] Available at: 
[Accessed 31 December 2020].
McHale, J., 1972. Future Of The Future. Amsterdam: North-Holland Pub. Co.
Mitchell, D., n.d. CLOUD ATLAS.
Nagel, T., 1974. What Is It Like to Be a Bat?. The Philosophical Review, [online] 83(4), p.435. 
Available at: [Accessed 31 December 2020].
Nancy, J. and Sparks, S., 2003. A Finite Thinking. Stanford, Calif.: Stanford University Press.
Oltsik, J., 2013. Edward Snowden Beyond Data Security. Network World. Retrieved, [online] 
Available at: [Accessed 31 December 2020].
Rosa-menkman.blogspot.com. 2021. S̈́̎
͐
ͮ
̃̅ͧ
ͯ
ͣ
ͬ̀҉̛͉͘͜
̬
̜
̩
͚̗
͎
̱
̰͎
̺
̰͙
͙
̻
̥
u̓ͩ
ͨ̽
̊
̂
̴̸̥͢
̤
̯
̮
̘
n̒
ͮ
shine In My Throat ░░░░░░░░░. [online] Available 
at: [Accessed 5 January 
2021].
Sondervan, J., 2012. NECSUS &#124; Investigatory Art: Real-Time Systems And Network Culture. [online] 
Necsus-ejms.org. Available at: [Accessed 31 December 2020].
Sterling, B., 2021. An Essay on The New Aesthetic. [online] Wired. Available at: 
 [Accessed 3 January 2021].
Sondervan, J., 2015. Necsus &#124; Too Much World: A Hito Steyerl Retrospective. [online] Necsusejms.org. Available at: 
[Accessed 31 December 2020].
Thispersondoesnotexist.com. 2020. This Person Does Not Exist. [online] Available at: 
 [Accessed 31 December 2020].
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von Foerster, H., 2003. On Constructing a Reality. Kybernetes, [online] 32(4). Available at: 
 [Accessed 31 December 2020].
Zielinski, S. and Custance, G., n.d. [... After The Media].
Zielinski, S., 2009. Deep Time Of The Media. Cambridge, Mass: MIT Pr












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		<title>00 Replica Series 002: Catalyst</title>
				
		<link>https://00zhang.com/00-Replica-Series-002-Catalyst</link>

		<pubDate>Wed, 08 Jul 2026 12:59:14 +0000</pubDate>

		<dc:creator>aio0o0o0</dc:creator>

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	&#60;img width="1348" height="476" width_o="1348" height_o="476" data-src="https://freight.cargo.site/t/original/i/95b65db59ff91071d33b1f56bc25f60261a8f2028b17733adf400d075aee1ba3/logo.png" data-mid="250387461" border="0" data-scale="56" src="https://freight.cargo.site/w/1000/i/95b65db59ff91071d33b1f56bc25f60261a8f2028b17733adf400d075aee1ba3/logo.png" /&#62;

	


















00 Replica Series 002: Catalyst






&#38;nbsp;

 





00 Zhang
2026

167*190*280cm

Acrylic, resin,Plexiglas, serial display, cement,fiberglass, busbar, electric motor, gear reducer, conductor rail, carbon brush, controller, sliding rail, stainless steel, counter✿‧̥°̩̥˚̩̩̥͙°̩̥‧̥·̊‧̥°̩̥‧̥·̊✿°̩̥‧̥‧̥ ‧̥˚̩̩̥͙·‧̥·̊‧̥✿‧̥°̩̥˚̩̩̥͙°̩̥‧̥·̊˚̩̩̥͙°̩̥‧̥✿·̊·̊‧̥··̊‧̥°̩̥✿˚̩̩̥͙·

ᴄᴀᴛᴀʟʏꜱᴛ: 𝟢𝟢 ᴢʜᴀɴɢ



(_/) 
(｡•ㅅ•｡) 
/づ♡

Time acts as a catalyst—setting systems in motion, provoking transformation, sustaining life. The work constructs a subject continuously reconfigured through the intersecting systems of age, migration, education, and platform culture.



Artist’s DNA are translated into parameters that generate the installation’s movement. Along a circular rail, clock-like modules operate as a temporal mechanism. As the system approaches 2026, it automatically resets to 2025, 2024, and 2023. Across multiple screens, twelve years of artistic practice are compressed into a mechanically replayable archive. Each sequence ends with a synchronized countdown before dissolving into a field of scrolling DNA data, returning the work to its point of origin. Like a game engine restoring a saved state, the installation performs an endless cycle in which biological inheritance, social identity, and historical conditions remain inescapable.



Catalyst reflecting the artist Suspended between two competing temporal regimes—one shaped by East Asian social structures, the other by the economies of online creative production. Temporalities—biological, social, and machinic—operate simultaneously yet remain fundamentally asynchronous. Their persistent misalignment forms the central logic of the installation, where time functions not as a measure of progress but as a technology of recursive control.



As part of the Replica Series, the work extends an ongoing investigation into the body as an informational system and the subject as a computational construct.

✿‧̥°̩̥˚̩̩̥͙°̩̥‧̥·̊‧̥°̩̥‧̥·̊✿°̩̥‧̥‧̥ ‧̥˚̩̩̥͙·‧̥·̊‧̥✿‧̥°̩̥˚̩̩̥͙°̩̥‧̥·̊˚̩̩̥͙°̩̥‧̥✿·̊·̊‧̥··̊‧̥°̩̥✿˚̩̩̥͙·
Commission by Mud Gallery


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	&#38;nbsp;


	






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		<title>00 Replica Series 001</title>
				
		<link>https://00zhang.com/00-Replica-Series-001</link>

		<pubDate>Sun, 12 Jul 2026 21:08:56 +0000</pubDate>

		<dc:creator>aio0o0o0</dc:creator>

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&#60;img width="400" height="400" width_o="400" height_o="400" data-src="https://freight.cargo.site/t/original/i/2d426d3e5960da7d6856d0ea3361228d3cab6cd01b269d2971aa8ac57e549551/logo-idle.gif" data-mid="250387646" border="0" data-scale="100" src="https://freight.cargo.site/w/400/i/2d426d3e5960da7d6856d0ea3361228d3cab6cd01b269d2971aa8ac57e549551/logo-idle.gif" /&#62;



















00 Replica Series 001







00 Zhang
2026


95*55*65cm


2d pixel game, dna, Screen, resin, integrated AI system, ESP32, servo✿‧̥°̩̥˚̩̩̥͙°̩̥‧̥·̊‧̥°̩̥‧̥·̊✿°̩̥‧̥‧̥ ‧̥˚̩̩̥͙·‧̥·̊‧̥✿‧̥°̩̥˚̩̩̥͙°̩̥‧̥·̊˚̩̩̥͙°̩̥‧̥✿·̊·̊‧̥··̊‧̥°̩̥✿˚̩̩̥͙·

00 Replica Series is an experimental simulator that imagines non-human computational lifeforms as fragile, intimate, and in need of care. Drawing from close studies of hacked and modded Tamagotchi handheld pets, Zhang constructs a hybrid replica woven from her own DNA data–reimagining the replica’s physical structure, electronics, and embedded game. The work asks how much of our humanity is projected into technological companions and what it means for humans to nurture machines. Positioned between artifact and organism, the work reframes care as a reciprocal relationship between humans and machines.

✿‧̥°̩̥˚̩̩̥͙°̩̥‧̥·̊‧̥°̩̥‧̥·̊✿°̩̥‧̥‧̥ ‧̥˚̩̩̥͙·‧̥·̊‧̥✿‧̥°̩̥˚̩̩̥͙°̩̥‧̥·̊˚̩̩̥͙°̩̥‧̥✿·̊·̊‧̥··̊‧̥°̩̥✿˚̩̩̥͙·


&#60;img width="256" height="256" width_o="256" height_o="256" data-src="https://freight.cargo.site/t/original/i/7ad7346ce482e04d595b3c4401a462f7eadfdff674205540a4f7274cde23f8bb/girl-.gif" data-mid="250387656" border="0"  src="https://freight.cargo.site/w/256/i/7ad7346ce482e04d595b3c4401a462f7eadfdff674205540a4f7274cde23f8bb/girl-.gif" /&#62;

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		<title>00 Replica Series 001 取披要领</title>
				
		<link>https://00zhang.com/00-Replica-Series-001-1</link>

		<pubDate>Mon, 13 Jul 2026 23:16:28 +0000</pubDate>

		<dc:creator>aio0o0o0</dc:creator>

		<guid isPermaLink="true">https://00zhang.com/00-Replica-Series-001-1</guid>

		<description>
	

	
&#60;img width="400" height="300" width_o="400" height_o="300" data-src="https://freight.cargo.site/t/original/i/2b6416d0c52b321632da92adf4196a3d6b724d7dbb629a30c7a2ab4a6916d4f3/logo.gif" data-mid="250387911" border="0"  src="https://freight.cargo.site/w/400/i/2b6416d0c52b321632da92adf4196a3d6b724d7dbb629a30c7a2ab4a6916d4f3/logo.gif" /&#62;
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00 Replica Series 001







00 Zhang
2026


95*55*65cm


2d pixel game, dna, Screen, resin, integrated AI system, ESP32, servo✿‧̥°̩̥˚̩̩̥͙°̩̥‧̥·̊‧̥°̩̥‧̥·̊✿°̩̥‧̥‧̥ ‧̥˚̩̩̥͙·‧̥·̊‧̥✿‧̥°̩̥˚̩̩̥͙°̩̥‧̥·̊˚̩̩̥͙°̩̥‧̥✿·̊·̊‧̥··̊‧̥°̩̥✿˚̩̩̥͙·

00 Replica Series is an experimental simulator that imagines non-human computational lifeforms as fragile, intimate, and in need of care. Drawing from close studies of hacked and modded Tamagotchi handheld pets, Zhang constructs a hybrid replica woven from her own DNA data–reimagining the replica’s physical structure, electronics, and embedded game. The work asks how much of our humanity is projected into technological companions and what it means for humans to nurture machines. Positioned between artifact and organism, the work reframes care as a reciprocal relationship between humans and machines.

✿‧̥°̩̥˚̩̩̥͙°̩̥‧̥·̊‧̥°̩̥‧̥·̊✿°̩̥‧̥‧̥ ‧̥˚̩̩̥͙·‧̥·̊‧̥✿‧̥°̩̥˚̩̩̥͙°̩̥‧̥·̊˚̩̩̥͙°̩̥‧̥✿·̊·̊‧̥··̊‧̥°̩̥✿˚̩̩̥͙·

&#60;img width="1407" height="990" width_o="1407" height_o="990" data-src="https://freight.cargo.site/t/original/i/ec60d71401118b16fb734292dbd4143af7fbd268bbe5dcffb5940ac40617e1a6/1.png" data-mid="250388380" border="0" data-scale="55" src="https://freight.cargo.site/w/1000/i/ec60d71401118b16fb734292dbd4143af7fbd268bbe5dcffb5940ac40617e1a6/1.png" /&#62;

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This project introduces a experimental simulator that hosts a series of pixel-style or 3D-rendered digital 
organisms generated from real human DNA data. Built as an interactive device functions simultaneously as a 
container, and a laboratory for observing non-human computational lifeforms. 
At the centre of the project is a reimagined form of the Tamagotchi. The Tamagotchi emerged in the 1990s as 
a prosthetic for presence—an intimate stand-in for companionship. It operated as a miniature synthetic 
organism, its shifting visuals and scripted behaviors echoing the pulse and rhythms of human life. In its 
simplicity, it staged a quiet choreography of care, dependency, and simulated vitality. 
DNA—traditionally understood as a biological archive—is translated into computational parameters that 
define the organism’s appearance, animation cycles, response systems, and modes of interaction.  








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Here, DNA 
is treated not as biological fact but as generative code capable of producing new kinds of artificial life. By 
embedding human DNA into a computational ecosystem, the project examines how “life” operates when 
detached from a biological substrate, and how humans relate to entities that originate from their own data yet 
evolve autonomously within a digital environment. Within computational systems, cultural practices—once 
rooted in embodied, communal contexts—transform into algorithmically modulated behaviours: fluid, 
executable, and structurally dependent on machine logic rather than human tradition. Cultural memory also 
becomes platformal.








	



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 Instead of narratives, objects, archives, or oral histories, memory now relies on storage 
formats, servers, data retention policies, algorithmic resurfacing, recommendation logics, and machine-readable metadata. Culture is no longer remembered by people; it is curated, promoted, or buried by the 
system itself. In this sense, the future of culture is determined—almost literally—by servers.
This project extends that lineage by replacing fiction with biological data. The digital organism generated 
from real human DNA becomes a next-generation Tamagotchi: not a virtual pet, but a computational 
embodiment of the artist’s genetic presence.




&#60;img width="370" height="263" width_o="370" height_o="263" data-src="https://freight.cargo.site/t/original/i/5774fc9c93e2b589d9f3530b5f964b7222d813857eacdaedd05e630784d49a52/IMG_1444.GIF" data-mid="250387895" border="0"  src="https://freight.cargo.site/w/370/i/5774fc9c93e2b589d9f3530b5f964b7222d813857eacdaedd05e630784d49a52/IMG_1444.GIF" /&#62;
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		<title>Prototype0037 RAID 0</title>
				
		<link>https://00zhang.com/Prototype0037-RAID-0</link>

		<pubDate>Sat, 11 Jan 2025 17:39:01 +0000</pubDate>

		<dc:creator>aio0o0o0</dc:creator>

		<guid isPermaLink="true">https://00zhang.com/Prototype0037-RAID-0</guid>

		<description>
	


















Prototype0037 RAID 0






00 Zhang





2024
 Silver plated resin, SLA, 304 stainless steel, 316 stainless steel
104 x 70 x 77 cmPrototype0037 is a Bio-Systemic Metaphor of NAS (Network Attached Storage). Structural and conceptual inspiration from the logic of NAS and embedded notions of redundancy, backup, and distributed architecture in RAID (Redundant Array of Independent Disks) configurations. Within a RAID system, data is not stored in a singular location but rather dispersed, mirrored, and distributed across multiple drives, enhancing fault tolerance and system resilience. Some disks store, some rebuild, some verify—each takes on a role in

preserving the whole.

Prototype0037 system is reimagined as a posthuman model of informational encoding. It is a memory of a synthetic identity’s life cycle that stored in externalized systems. Each semi-open aluminium enclosure acts as a node, symbolizing a singular disk drive archiving and distributing the evolutionary process of a digital lifeform that mutation, replication, and collapse across containers.

‘The externalization of memory is the essence of technological evolution.’

— Bernard Stiegler

This system reflects how identity, memory, and embodiment are fragmented in the digital age. RAID 0 (Striping Without Redundancy) , is the most vulnerable, the fastest, and the most violent structure. It splits data across drives for pure speed, sacrificing safety entirely: if one disk fails, all data is lost. It is performance at the cost of memory. RAID 0 is presence without history. Ecology, bodies, and memories are compressed; echoes the development of China's The Yangtze Delta, the area where I originally from: Manufacturing executes like code, regions subdivide like data stripes, and memory, personal, ecological, historical—is overwritten, compressed, and buried under infrastructural logic. Prototype0037 is not meant to be understood, it is meant to be felt. When humans begin slicing memory with technology, we enter a game era ruled not by preservation, but by speed and erasure. RAID 0 promises extreme performance with a price of absolute oblivion.



“Faster, faster—never look back.”
















 





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	&#38;nbsp;



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