My name is blue.
藍天瑀
I am blue like the expanse of the sky, splicing the heavens, delineating the infinities that bound our material world
天
I am blue like the gleam of the stones, where we find the meatspace and long for the perversion of corporeal reality
瑀
The landscapes of the human skin is blue
The materiality of the flesh is blue
The transfiguration of the Real is blue
The ode to the Eternal Forms is blue
The infinite tends to the singular
The singularity tends to infinity
The weave and its asymptotic slink is blue
Dilation of the interlaced net, of the deep black pinhole of perception
Contraction of gridlined plane, of the murky darkness of yonic wavelengths
Blue consumes its tail.
Email bluelamtianyu@gmail.com
Curriculum Vitae
Education
(2026 - Present)
SOAS, University of London (The School of Oriental and African Studies)
MPhil/ PhD Law
London, United Kingdom
(2025 - 2026)
SOAS, University of London (The School of Oriental and African Studies)
LLM Human Rights, Conflict and Justice
Offered SOAS Master’s Scholarship (International) 2025
London, United Kingdom
(2021 - 2024)
Goldsmiths, University of London
BA (Hons) Fine Art and History of Art
First Class Honours
London, United Kingdom
(2019 - 2020)
Nanyang Technological University School of Art, Design and Media
BFA Media Art with Specialisation in Photography and Minor in Art History
Incomplete
Singapore, Singapore
Writing and Publications
(2026)
Poems on Death in the Absence of Piety
Published by Moving Discourse in Chapter 2: Vision and Flesh, Available online on Moving Discourse
London, United Kingdom
(2025)
“玄之又玄,众妙之门。(Xuan and again xuan, gate to all mysteries.)” : Daoist Philosophy and Cosmotechnics as Gateway to Reconciling our Relationship to The Cyberspace
Edited Dissertation
Published by Xeno-Futurism in Issue 2: Technologies of Domination, Issue for sale through Xenofuturism & available online on Internet Archive
London, United Kingdom
(2024)
“玄之又玄,众妙之门。(Xuan and again xuan, gate to all mysteries.)” : Daoist Philosophy and Cosmotechnics as Gateway to Reconciling our Relationship to The Cyberspace
BA Dissertation
Distinction
Supervised by Dr. Alice Andrews
Goldsmiths, University of London
London, United Kingdom
(August 2024)
Lest it disappear from the world: The Scars of Singaporean Performance Art History and the Choreopolitical Rise of Singaporean Movement Art and Butoh in the 2020s
Visual Cultures/ Art History Essay and Research Project
Distinction
Goldsmiths, University of London
London, United Kingdom
(June 2024)
spaces as traces: A Devotion to Narratives between the Thresholds of Spirituality and Digitality
Review written for Shiyun Teo First Solo Exhibition, spaces as traces at Feelium Gallery, 14 - 17 June 2024
London, United Kingdom
Panels, Presentations and Talks
(26 November 2025)
Xeno Futurism Issue 2: Magazine Launch ‘Technologies of Domination’
Newspeak House
*Xeno Futurism: Technologies of Domination marks the launch of Issue 2 of Xeno Futurism, a critical theory journal exploring the intersections of philosophy, media, and technology. The second issue presents a bold collection of theory-fiction, critical essays, poetry, and visual works that unravel the tangled realities of contemporary technics, artificial intelligence, and the psychosocial architecture of domination.
Hosted by Xeno Futurism editorial team Nuru Khaliel and Akin Askinoglu, featuring keynote speaker Alfie Bown and panel of Issue 2 contributors including Ivar Frisch and William Deisinger
London, United Kingdom
(21 May 2025)
Desiring Bodies: A Trans Panel
Goldsmiths, University of London
*This panel explores trans desire as a tool for resistance, examining the different configurations of pleasure, intimacy and embodiment that arise from these practices.
Curated and hosted by Frances Montesano and Goldsmiths, University of London Department of Visual Cultures
Other speakers include Eli Walkden and Tomara Garrod
London, United Kingdom
(14 August 2024)
EXTRACORPOREALITY: BODIES AND THE URGE TO TRANSCEND
Pushkin House
*For their second round of presentations for Pushkin YOUNG, the cultural collective Everyone is a Girl introduces four speakers that tackle the problem of the body. The body has had a muddled and sultry decade in the world of critical theory as various new frameworks (posthumanism, transhumanism, corporeal feminism, OOO, etc.) attempt to take on its relation to other organisms, technology, and (a possible) higher consciousness.
Hosted by everyoneisagirl, discussion led by Noa Fischer, curated by Ester Freider
London, United Kingdom
Exhibitions + Events
(16 May 2026)
DAYTRIP, Flow (海纳百川) by Princess Xixi
Queer East Festival 2026
ICA London
London, United Kingdom
(17 July 2025)
Sin-Eaters Feat. Blue: Not a traditional life drawing workshop
Maison Pan
Part of the Tail series of immersive environments that use a life drawing class as a point of departure
Facilitated by Pallavi (Singapore), Hosted by Marie Obegi (Beirut/ London)
London, United Kingdom
(13 - 17 June 2024)
Goldsmiths, University of London Undergraduate Fine Art Degree Show
Ben Pimlott Building, Level 3, Goldsmiths, University of London
London, United Kingdom
(9 - 10 May 2024)
Liminal Entities
Milbank Podium
Performance in collaboration with Nereus Hall
Supported by UAL’s Bounce Fund
London, United Kingdom
(8 June 2023)
Kunst Affair Vol. 2
AMP Studios
London, United Kingdom
(10 - 11 December 2022)
barang shop!!!
Studio Lotusroot
London, United Kingdom
(6 - 27 August 2022)
Thresholds of Being
starch
Curated by Sheryl Gwee, Xuan Yeo
Singapore, Singapore
Performances
(19 - 20 August 2023)
Livia Rita: Dystopian Wetlands
Southbank Centre
With Avantgardeners Community
Creature/ Movement Artist
London, United Kingdom
DJ
(16 May 2026)
DAYTRIP, Flow (海纳百川) by Princess Xixi
Queer East Festival 2026
ICA London
London, United Kingdom
(8 May 2026)
Infilāt Presents
Infilāt Collective
Endeavor Deptford
London, United Kingdom
(30 January 2025)
Year 555
Bakunawa Entertainment
The Greyhound Peckham
London, United Kingdom
(30 November 2024)
My Little Pony Rave
Its Not A Phase
Off The Cuff
London, United Kingdom
(19 November 2024)
[RRHO4] DJ 小 HIAO “HIAO CHIOBU OF SUNNY SINGAPORE” Mix
Radio Repellent
Featured Artist
Soundcloud
London, United Kingdom
(21 August 2024)
FREE 4 ALL
0116internetculture X Bakunawa Entertainment
Four Quarters Peckham
London, United Kingdom
(15 August 2024)
Margins Pop-Ups
Eastern Margins
The Steam Room
London, United Kingdom
(31 May 2024)
OPIA MYSPACE
Opia
Unit58
London, United Kingdom
(27 April 2024)
K2Y.mp3
Undisclosed Location
London, United Kingdom
(31 March 2024)
K2Y.mp3
Protocol, Vauxhall Arches
London, United Kingdom
(22 March 2024)
CLUBPOC
The Yard Theatre
London, United Kingdom
2022 - 2024
*Published in Moving Discourse Chapter 2: Vision and Flesh (2026)
*Available online on Moving Discourse https://movingdiscourse.com/poems-on-death-in-the-absence-of-piety/
To read Poems on Death in the Absence of Piety, available online on Moving Discourse
https://movingdiscourse.com/poems-on-death-in-the-absence-of-piety/
Moving Discourse
Moving Discourse is a media platform dedicated to performative thinking and choreographic practice. Through video and text, it both cinematically portrays and theoretically engages with performance, movement, and the body. Every month, Moving Discourse releases a curated chapter on a specific topic, combining interviews, performance documentations, and experimental texts.
As its name suggests, Moving Discourse can be understood as a call to action. It invites us to move the discourse, to transdisciplinarily question fixed assumptions and unsettle hardened arguments. It is both a space to display movement-based artistic practices and a field to engage with the theoretical currents that surround them.
Moving Discourse seeks to hold and to release — to establish an archive of ideas and of the bodies that carry them, while refusing all attempts at solidification. It embraces the fluidity of forms, the impermanence of gestures, and dynamic thinking, in order to keep discourse itself in motion.
About Chapter 2: Vision and Flesh
Chapter 2 — Vision and Flesh interrogates patriarchal regimes of vision and reflects on the constitutive entanglement of power and visibility. “Vision” is mobilised here as an intrinsically ambivalent concept: it designates, on the one hand, regimes of visibility through which power relations are not merely reflected but actively produced, stabilised, and naturalised. On the other hand, vision gestures towards the speculative and the visionary, towards epistemic and aesthetic practices capable of contesting, displacing, and exceeding dominant scopic regimes.
In this context, representation is understood not as a passive reflection of the social world but as a technology of power: a field in which hierarchies are organised, perception is structured, and the conditions under which bodies appear are negotiated and contested. Particular attention is given to the figuration of the female body, the structuring violence of the male gaze, the exposed or naked body, and the queer and racialised body as sites of projection, regulation, and control.
Vision and Flesh draws on the foundational work of Laura Mulvey — particularly her theorisation of the male gaze as a structuring principle of visual culture — alongside the Marxist-feminist analyses of Silvia Federici. Federici foregrounds the disciplining of the body as labouring and reproductive force as a precondition for the emergence and consolidation of capitalist relations of production. Within this framework, the figure of the witch emerges as a paradigmatic site of resistance: her persecution and eradication were not peripheral events but constitutive moments in the violent reorganisation of social reproduction. The regulation of gendered, racialised, and classed bodies thus forms the historical substrate of contemporary regimes of visibility.
“Flesh” names the body not merely as image or representation, but as lived, sensuous, and material existence. It is the site upon which regimes of vision are inscribed and through which they are contested, where questions of sexuality, pleasure, labour, vulnerability, and exposure become tangible. From this perspective, the degradation of marginalised bodies unfolds through the intertwined operations of sexualisation and objectification, processes that are reiterated, sedimented, and at times disrupted through performance and choreography.bodies, affective possibilities and erotic modes of being are articulated.
DJ Set performed as DJ 小 HIAO
Flow 海纳百川 is a multidisciplinary club and performance programme curated by Sirui Chang (Princess Xixi) as part of Queer East Festival’s 2026 programme, exploring movement as both a physical act and a cultural force. Bringing together DJs, live performers, MCs, and movement artists, the event sits at the crossroads of diasporic club culture, live performance, and contemporary art practice.
The programme highlights artists from East and Southeast Asian diasporic communities working across genres, scenes, and cultural contexts – from hyperpop and underground rap to UK bass, grime, jungle, and experimental sound practices, spanning both physical club spaces and online ecosystems. By assembling practitioners from across these fragmented spaces, Flow creates a rare moment of convergence. The programme situates these practices within the wider lineage of Black diasporic music traditions that have shaped global club culture, acknowledging the foundational role of these sonic histories.
The title draws from the Chinese idiom 海纳百川 – “the sea accepts a hundred rivers” – evoking the convergence of distinct artistic voices, scenes, and cultural references. At its core, Flow reflects on how sound, bodies, and communities move through space, and how club culture functions as a site of gathering, exchange, and collective release.
Queer East
A cross-disciplinary festival that showcases boundary-pushing LGBTQ+ cinema, live arts, and moving image work from East and Southeast Asia and its diaspora communities.
Programme Information
https://queereast.org.uk/programme/flow/
https://queereast.org.uk/programme/daytrip/
https://www.instagram.com/p/DXuZB6tCewK/
Mix available on Soundcloud
https://soundcloud.com/blueskystone/queereastflow
2024/ 2025
*Edited verison published in Xeno-Futurism Issue 2: Technologies of Domination (2025)
*Presented in Xeno-Futurism Issue 2: Magazine Launch ‘Technologies of Domination’ (26 November 2025)
*Available online on Internet Archive https://archive.org/details/xf-2-technologies-of-domination (2026)
Supervised by Dr. Alice Andrews
Goldsmiths, University of London
(Preview of published essay, Xeno-Futurism Issue 2: Technologies of Domination p.38-39)
(Photo from Xeno-Futurism)
(Photo by @rosiepetale on Instagram)
To purchase Xeno-Futurism Issue 2: Technologies of Domination https://xenofuturismmagazine.com/Shop
To read Xeno-Futurism Issue 2: Technologies of Domination, available online on Internet Archive
https://archive.org/details/xf-2-technologies-of-domination
Xeno-Futurism
Xeno Futurism is an independent critical theory journal that analyses 21st century issues from abstract perspectives & amplifies voices from the margins, unfolding into speculative (xeno) futures.
@xeno_futurism
xenofuturismmagazine.com
For any inquiries about this project/ To read full essay
Contact bluelamtianyu@gmail.com
Published work presented at Xeno-Futurism Issue 2: Magazine Launch ‘Technologies of Domination’ at Newspeak House (London, United Kingdom) on 26 November 2025
Publication Launch, Panel Presentation & Discussion
Hosted by Xeno Futurism editorial team Nuru Khaliel and Akin Askinoglu, featuring keynote speaker Alfie Bown and panel of Issue 2 contributors including Ivar Frisch and William Deisinger
*Xeno Futurism: Technologies of Domination marks the launch of Issue 2 of Xeno Futurism, a critical theory journal exploring the intersections of philosophy, media, and technology. The second issue presents a bold collection of theory-fiction, critical essays, poetry, and visual works that unravel the tangled realities of contemporary technics, artificial intelligence, and the psychosocial architecture of domination.
The second issue presents a bold collection of theory-fiction, critical essays, poetry, and visual works that unravel the tangled realities of contemporary technics, artificial intelligence, and the psychosocial architectures of domination.
The evening will open with a 30-minute talk by the Xeno Futurism editorial team Nuru Khaliel and Akin Askinoglu, introducing the new issue and the editorial vision behind it.
Our keynote speaker, Alfie Bown (King’s College London, Digital Media Culture and Technology), will deliver a talk examining the technological implications of the digital on politics, culture, and the individual through a psychoanalytic lens. His keynote will also introduce ideas from his forthcoming work, Psychotic Capitalism.
Following the keynote, a panel of contributors from Issue 2 will expand on the issue’s themes through a series of short talks and discussion:
*Ivar Frisch — Accelerating Machine Vision into Darkness
*Willem Deisinger — Psychopolitics, Amulets, and Psychohacking
*Blue Lam — Daoist Philosophy and Cosmotechnics as Gateway to Reconciling our Relationship to the Cyberspace
Bringing together thinkers from philosophy, cultural theory, and media studies, Technologies of Domination invites critical engagement with how technology mediates perception, subjectivity, and power in an age of accelerated technology.
RSPV https://luma.com/5zgnyyfx?fbclid=PAZXh0bgNhZW0CMTEAc3J0YwZhcHBfaWQMMjU2MjgxMDQwNTU4CGNhbGxzaXRlAjE1AAGnonxJQdA9XT0qgGM3nKae3HONhySrqeKkqXZdt1QLw2A3JH6mmtvT0E6RUgo_aem_M6tp-UqnjGv_bPkHTWWy1A&locale=en-GB
2025
Inkjet print on A3 copier paper, cut and folded into zine with an inkjet print A5 insert
(Page 1)
(Page 2 - 3)
(Page 4 - 5)
(Page 5 - 6)
(Page 8)
(Back, full centrefold)
(Final print layout, front and back, to be cut along blue line and folded into a zine)
(Insert front, insert back)
2.4 x 2.4m platform, tattoo equipment, hand-carved soapstone「乾」, 「坤」,「屯」seals, jungle soil
Performed at
Goldsmiths, University of London Undergraduate Fine Art Degree Show
Ben Pimlott Building, Level 3, Goldsmiths University of London
London, United Kingdom
13 - 17 June 2024
Phillip Lai
Sophie Seita
Evie Harrison
Lauren Swainbank
Xuan, Velda, Huda, Shiyun, Nereus, Danni, Ellie, Keelan, Bijou, Jude, Mikaela, Benedict, Arthur, Casey, Fernanda, Kansh
親愛的爸爸妈妈
June 2024
Figure 1. Ancient Chinese seal script character 靈 or ling, from Wikimedia Commons
In ancient Chinese seal script, as well as traditional Chinese script, the character 靈 or ling - meaning god, deity, soul or spirit - illustrates the importance of a medium in spiritual encounters in Taoist religion.
Figure 2. The characters that constitute 靈 or ling in ancient Chinese seal script, all images of Chinese seal script characters from Wikimedia Commons
The seal script character of 靈 or ling depicts a shaman calling for rain to fall. This notion of shamanistic practice as medium for spirituality in Taoism is inherently implied in the construction of this character that reflects the spiritual and the rituals surrounding it. We can expand this understanding of medium beyond the spirit medium towards media and mediation between the contrasting realms of spirituality and digitality.
Teo’s practice acknowledges the criticality of medium in relation to the spiritual and digital. The meanings inscribed into the form of the character 靈 or ling is elucidated in her most recent work, space as traces.
Central to spaces as traces is a keen recognition of medium extending beyond the traditional confines of the spirit medium in Taoist religious practice. Teo achieves this through three key lines of inquiry:
- If meatspace is mediated by digitality - or the cyberspace, is there a place for spirituality to exist within this mediation?
- If spirituality does exist within this mediation, how does the role of a spirit medium transform and does this role of a medium become analogous to that of the digital?
- If we were to view such encounters with the spiritual and spirit mediums as performance and language, can filmmaking be a medium for mediating this complex intersection between cyberspace, meatspace and spiritual realms?
Along such lines of inquiry, Teo notes that “the role of a spirit medium progresses along with technology”. spaces as traces is an ode to the flux between technology and spirituality in the wake of the Covid-19 pandemic where “spirit mediums take their presence online”, according to Teo. Observing how mediums have connected to audiences to aid with inquiry to Taoist gods and spirits, media such as livestreaming have altered the fundamental role of the spirit medium, allowing them to take on a new meaning and significance.
Throughout Teo’s oeuvre (with the short film ‘a tale of ula-nara’, a fictional xianxia tale of achieving transcendence from mortality and ‘蝴蝶山;NOW, THEN’, a documentary-fiction film installation offering a contemporary take on the wuxia genre of Chinese cinema and documenting Singaporean Taoist spirit medium ceremonies using archival footage), filmmaking is buttressed as a medium of transformation, translation and transcription of narratives - both fictional and non-fiction. Through interplay of her extensive archiving of Taoist ritual and practice in Singapore and her interest in contemporary Chinese mytho-fiction, Teo has developed an aesthetic that seeks to mediate such spiritual, fictional and digital experiences. She synthesizes realms that house these seemingly opposing narratives through time-based media, yet tethers the audience to a material sensuality and experiential space through evocative installations alluding to spaces particular to Singaporean culture.
Teo explains that “what was captured is never a definite truth”. Her practice of documentation and archiving asserts a longing for truth-seeking, yet it also nods to the impossibility of achieving this truth. According to Teo, “filmmaking is one of the many mediums to mediate these spaces, as we document our relationships, helping us understand how we interact and exchange ideas using the digital space.” spaces as traces wields filmmaking as a tool for collective memory-seeking - allowing the audience to seek these ephemeral, fleeting fragments of information and reality within fiction and documentation in tandem with Teo’s enduring wish to excavate meaning within the thresholds of reality, spirit, gods and storytelling.
spaces as traces exists as work of Teo’s devotion towards stories, memory-recording and an everlasting quest for truth within liminal realms of sensual spirituality and narratives.
Digital Spirits in Religion and Media: Possession and Performance by Alvin Eng Hui Lim
Review written for
Shiyun Teo First Solo Exhibition
spaces as traces
Feelium Gallery
14 - 17 June 2024
shiyunteo.com
4 x 4 x 5 cm white soapstone, 鄧散木 seal script carving
Blue is also DJ 小 HIAO
HIAO, 2023