Beyond Sattva（无情世界），试图打破“有情”的传统界限——即不仅人与动物才是“有情众生”，山石、水流与云虽无心识，却也在静默中延续着无形的生命。“无情”在此并非指向冷漠，而是对“非人存在”的重新体认：如何让那些不被感知的存在，再度被看见、被哀悼、被倾听。

这部 8mm 胶片影像以既遥远又亲近的视觉体验，触碰横断山脉高海拔的地质肌理，探索生命与非生命的边界。影像遵循垂直降落的视线——从云雾雪峰、冰川、流石滩到湖泊与森林，交织着五段没有翻译的本土方言故事。这些如风声般的“生态音景”，重现了那些难以言说的文化记忆与地质能量。

在这片冷峻景观中，看似静止的岩石在时间中默然生长，艺术家试图为其寻找一种饱含其动势的词汇。借由朱迪斯·巴特勒的“可悲恸性”概念，作品旨在让“非人存在”重新获得被哀悼的资格，在广袤的宇宙视野中，确认我们与万物的共生位置。

The video work Beyond Sattva attempts to break the traditional boundaries of "sentience" (Sattva). It posits that not only humans and animals are "sentient beings"; rather, rocks, water currents, and clouds—though lacking consciousness—continue an invisible life in silence. Here, "The Insentient" (Acetana) does not denote indifference, but a re-recognition of "non-human existence": asking how those unperceived existences can be seen, mourned, and heard once again.

Shot on 8mm film, the work employs a visual experience that is both distant and intimate to touch upon the geological textures of the high-altitude Hengduan Mountains, exploring the boundary between life and non-life. The imagery follows a gaze of vertical descent—from misty snow peaks, glaciers, and scree slopes down to lakes and forests—interwoven with five untranslated stories told in local dialects. These "ecological soundscapes," akin to the sound of wind, resurface those ineffable cultural memories and geological energies.

In this stark landscape, seemingly static rocks grow silently in time, and the artist attempts to find a vocabulary imbued with their momentum. Drawing on Judith Butler’s concept of "grievability," the work aims to restore the eligibility of "non-human existences" to be mourned, confirming, within a vast cosmic perspective, our symbiotic position with all things.