Isothermal, a term originally rooted in meteorology, has quietly morphed into a psychological metaphor for the technological society. No longer merely referring to the thermodynamic balance of atmospheric flow, it now points to a deeper structural dilemma: how the human body, in an intensely mediatized reality, is assimilated, disciplined, and trapped within a perceptual circuit of thermal convergence.

Spiral, likewise, has never been just a geometric form. It is a folded structure of time, a nested mechanism of knowledge, an inescapable gravitational pull—a vertigo into which the observer falls while gazing.

The exhibition title Isothermal Spiral entwines these two dimensions. It reveals the biomimetic logic of technological systems—media interfaces that behave like living organisms, equipped with thermal perception, regulation, and feedback. At the same time, it evokes the algorithmic vortex in which humans are recommended, fed, and drawn ever deeper into loops of information.

Media is no longer a cold neutral conduit. It has become a bio-interface combined with temperature, memory, and reactivity. Corrugated tubes transfer energy and signals as worms; micro-screens secrete language and imagery like glands; rotating bearings chew through substances and flesh as mechanical mouths. A ghostly thermoregulation system rises in the exhibition, destabilizing the viewers with acts of approach disorientation, and bodily misalignment—until one seemingly enters a non-human shell: a strange and vibrant media-organism.

Within this system, temperature is discipline, structure is faith, language is ventriloquism, and the interface is a prison. We are being isothermal because our perception has lost its capacity for autonomous regulation; we are the spiral because our circuits can no longer escape the gravity of an invisible center. Perhaps this is the parable of a new media epoch: we are seduced by temperature, constrained by structure, entangled by language, and devoured by the interface.