“Affect” and “machine” appear to belong to different worlds—one to emotion and sensation, the other to systems and computation.

Yet in a post-capitalist era of information overload and fractured rhythms, our bodies, feelings, and digital surroundings have become intertwined. Time splinters, attention thins, and anxiety often precedes any real crisis.
This exhibition responds to a suspended sense of subjectivity, and to the increasingly porous boundaries between humans and machines.

Across the exhibition, affect and machinery unfold side by side.
Rebecca Horn’s kinetic installations behave like bodies with their own nervous systems;
Cam Xanh weaves biological and informational codes into concrete poetry;
Chen Chen Yu’s meditation machine moves between watching and being watched.
Chen Hui-Chiao, Olafur Eliasson, John Akomfrah, Chu Hao Pei, and Lee Chang Ming create environments where immersion and narrative remain in delicate balance.

Through sound, light, moving images, and spatial atmospheres, the exhibition asks:
Where does feeling come from, and how does the body operate within digital environments?

The works span performance, installation, theatrical strategies, and ritual-like forms.
Among eight performance and digital works, seven are shown in Taipei for the first time, including two new commissions.

Here, “self-healing” does not signify a return to an original state, but a re-tuning of the senses.
Visitors are invited to imagine the exhibition as an ensemble of healing machines—
places to move, pause, breathe, and negotiate with different media—
and in that process, release tension and rediscover small forms of clarity.