Chapter 5: The Dream Machine

(Supplementary Concept for Residency Proposal)

Each night, a system collapses. The body falls into sleep, the mind begins to render.

Inside the dream, everything is possible and therefore unstable — a perfect simulation that needs no device.

When the dreamer wakes, another machine boots: the virtual world, a programmed hallucination that pretends to be physical.

Later, the same dreamer sleeps again, and another architecture rises.

The layers rotate endlessly: dream → simulation → waking world → dream again.

Continuity is lost, but sensation remains intact.

The Dream Machine is not a technology; it is a philosophical experiment enacted through art.

Each layer of perception is a stage set built by entropy — possibilities collapsing into temporary coherence.

In my work, I build installations and images that mimic this motion:

screens flicker, sound loops disintegrate, recorded gestures repeat until they forget their origin.

Viewers enter a loop in which the border between inner and outer dissolves,

until the exhibition space itself begins to feel like a lucid dream that refuses to end.

The purpose is not to define what is real but to expose how “realness” is generated.

When a viewer cannot tell whether they are standing inside a simulation or simply watching one,

the artwork succeeds: it has reproduced the same entropic confusion that governs consciousness.

The piece becomes a mirror of cognition — a living feedback circuit between the observer and the observed.

In The Dream Machine, the artist is both subject and system.

My task is to create environments where observation becomes participation,

where every collapse of perception mints a moment of coherence —

a fleeting currency of awareness that circulates between dream, screen, and skin.