In the Name of Hypersurface of the Present / 當下的超曲面
Director: Umber Majeed, 溫柏．馬濟德
Duration: 00:10:22; Aspect Ratio: 1.778:1; Hue: 106.318; Saturation: 0.311; Lightness: 0.502; Volume: 0.147; Cuts per Minute: 27.367; Words per Minute: 12.335
Summary: In the Name of the Hypersurface of the Present is a feminist reading of the nuclear history of Pakistan and what the ongoing discourse on the subject in the patriarchal, nationalist rhetoric holds for the imminent future. Various archival material from family photographs to stock imagery collaborate to frame the voice of a fictional Urdu poet from the future who articulates the patriarchal gaze which frames the affinities between the religious nationalist agenda and technocratic developmental desires. Using the 1990 nuclear tests at Chaghi Monument Hill on the day of the religious festival of Youm e Takbeer (The Day of the Greatness of God) as the point of departure the narrative travels backwards and forwards in time evoking various associations that emerges through the colour green and the shape of a cone assumes recurring metaphor for female anatomical forms, botanical references, light sensitive cells in the eye.
〈當下的超曲面〉以女性主義的角度詮釋巴基斯坦的核能史，以及有關該主題父權式的、民族主義式的論述對於即將臨到的未來所帶來的影響。透過家庭照片、網路圖庫照片等不同檔案材料，此作品形塑了一名來自未來的烏都語詩人，呈現宗教民族主義意圖與技術官僚願景背後的父權視角。作品敘事以1990年於宗教節日Youm e Takbeer（神至高之日）當天於查吉紀念山丘（Chaghi Monument Hill）執行的核能測試為起點，時序向前回溯、往後推展，探討綠色以及錐形所引發有關女體、植物、眼睛感官細胞的聯想。
laptop
red
laptop
red; AI;
The laptop that we see here is a toy that the artist found in her parent's attic from before 9/11. She took scans of the laptop and digitally recreated it for this work. As if to emphasise that Islam can also be high-tech, the toy was a way to encourage young children to learn Arabic. It was part of a series of children's Islamic material brought out by Daru Salam, a conservative Sunni muslim movement in North America. The digital kitsch aesthetic, that seems to declare that the culture surrounding the religion has arrived into the future appealed to Umber Majeed. Her practice involves collecting objects intuitively that may not immediately feature in her work but remains an informal archive related to her practice that enters her work when the associations add up. Her process involves a dialogue between the materials she finds and the premise of the work.
我們在這裡看到的筆記型電腦，是藝術家在 911事件前在她父母的閣樓裡發現的一個玩具。她掃描了這個筆電，並以數位的方式複製進這個作品中。彷彿是為了強調伊斯蘭教也能很高科技，這個玩具是一種鼓勵幼兒學習阿拉伯語的工具，也是北美的保守遜尼派穆斯林運動人士達魯．薩拉姆（Daru Salam）推出的兒童伊斯蘭系列教材的其中一部分。這個看似宣稱穆斯林文化已步入未來的數位媚俗美學吸引了溫柏．馬濟德的注意。她的作品往往與透過直覺收集物品有關——儘管這些物品可能不會馬上出現在她的作品中，但卻始終被收藏在她的個人資料庫中，直到她挖掘出足夠的關聯性時才會以作品呈現。她的創作過程總是涉及她發現的素材與作品命題之間的對話。
（記憶）
（Baba Salaam）\\（烏爾都語，一間公司的名字）
This sequence was recreated from a children's colouring book that she also found in her attic. Throughout this video the colour green relates to Nuclear Islamic nationalism. She photoshopped the text to change 'his' to title case and added the green background. The page is marked 'book 2', indicating continuity and that this is part of an ongoing series, or that there is most likely another version of such propagandist material for children out there.
這個片段中，她也再製了她在閣樓裡發現的一本兒童圖畫書，而綠色在整段影片中被用來指涉核伊斯蘭民族主義。她用Photoshop修改圖畫書裡的文字，將「他的」二字改成標題的寫法，並在文字後方加上綠色背景。該頁面上面標記著「第2冊」，表示這是正在進行的系列中的一部分，或者，很有可能代表這種針對兒童的宣傳材料還有其他版本。
（塗上祂的）
（為了讓你的孩子認識無所不在的萬能者）
（需塗上祂的綠色）
（也可讓孩子記住並了解其含義）
（第二冊）
This image is taken from the cover page of a children's book about science and Islam that largely follows the narrative of how God made nature and that this is another reason why God is so great. The original image was vertical, but Umber expanded it using the clone tool on photoshop, as a way to also highlight the pixels and glitches in the graphic design. The visuals of a bountiful landscape cloak an agenda. Most pages explaining scientific phenomena is followed by a verse from Quran at the bottom of the page. The book includes a chapter on light which informed the research towards this work as did its quasi science-fiction tonality. The text that revolves over the image reads Bismillah (in the name of God), and the entire world is explained from this point of view. In Umber Majeed's practice, she frequently plays with the aesthetics of graphic design in South Asia—especially the way image and text are laid out in relation to each other—and subverts it through parody. The stock image of planet Earth is watermarked Storyblocks, which she retains in the work to hint at how narratives can be constructed from images.
這張圖片取自一本關於科學和伊斯蘭教的兒童讀物的封面，該讀物很大程度上複製了上帝如何創造自然的敘事方式，而這也是上帝為什麼如此偉大的另一個原因。原始的圖像是垂直的，但溫柏使用 photoshop 上的複製工具擴展這個圖像，藉此來突顯設計中的像素和卡頓的特徵，而富饒景觀的視覺效果則帶出另一個議題。大多數解釋科學現象的頁面，都會在頁面底部附上古蘭經中的一節經文。這本書中有一個關於光的章節，不僅暗示了這個作品的研究範圍，也揭示了它的準科幻小說調性。圍繞圖像旋轉的文字是「Bismillah」（以上帝之名），而這個作品裡的世界觀便從這個角度進行詮釋。在溫柏．馬濟德的作品中，她經常玩弄南亞的平面設計美學——尤其是圖像和文本彼此之間的排版方式——並通過諧擬的方式來進行顛覆。從圖庫抓來的地球圖像上帶有「Storyblocks」的水印，而她則是透過在作品中保留水印，暗示敘事如何從圖像中構建。
An image of an overly colorful natural space packed with flowers, butterflies, parrots, peacocks, and tigers. The narration that accompanies this image goes: “The new book of popular science: One hundred ways to perform the secrets of the earth.” Then, a cone totem in fluorescent green appears and brings out an image of the earth held by a pair of human hands. In the mixture of psychedelia and science, this opening sequence somewhat resonates with the techno hippies of the 1970s in the U.S.
The thriving counterculture movement since the 1960 in the U.S. nourishes a group of D.I.Y makers that have been fascinated by technology and cyberculture. Therefore, when NASA first released the first photograph of the earth The Blue Marble - taken by Apollo 17 in 1972 during its mission to land on the moon, this image was used as the first cover of the American counterculture magazine Whole Earth Catalog which was initiated by Stewart Brand. The legacies of the Whole Earth Catalog have been revisited in the exhibition The Whole Earth: California and the Disappearance of the Outside (2013, Berlin).
However, Umber Majeed’s approach reveals a South Asian exploration that takes the viewer through the games of culturally rooted connotations on words and the earth.
畫面中色彩飽滿俗豔的自然空間充滿著鮮花、蝴蝶、鸚鵡、孔雀和老虎，伴隨之的敘述是「科普新書：100種執行地球奧秘的方法」，隨後一螢光綠錐形圖騰出現，並帶出一雙人手捧著的地球圖像，如此交錯著迷幻自然和地球科學的影片片頭，使人聯想到1970年代美國的科技嬉皮。
美國自1960年代以來蓬勃發展的反文化運動滋養了一群對技術及網路文化著迷的D.I.Y自造社群。當美國國家航空暨太空總署首次發布地球的第一張照片「藍色彈珠」—─由阿波羅17號於1972年登月任務中所拍攝，此照片即被用於史都華．布蘭德所創辦的美國反文化雜誌《全球型錄》創刊號封面，此雜誌的文化意義更於2013年柏林世界文化中心的展覽「整個地球：加州和外在的消逝」中被重新檢視。
然而，本片藝術家溫柏．馬濟德則透過文字遊戲和雙關語，帶領觀眾以南亞視野進行想像。
科普新書
100種執行地球奧秘的方法
The Chaghi monuments which commemorated nuclear testing by Pakistan have all been destroyed for various reasons. Umber was able to visit the former site of the monument in Islamabad to find rubbles where it used to be, but was asked to leave. It was taken down citing urban expansion as a reason and was supposed to be rebuilt at the Fatima Jinnah park. As a result of the slowness of bureaucracy, no one knows when this will happen. She interviewed people at the park about this but no one had any idea when it will re-emerge. Despite this, the ghost of Chaghi lingers here, and as does the anticipation for it. The clip here is of the Fatima Jinnah park that she found on youtube where a man is deeply appreciative of the beauty of what seems to be a rather bare park.
紀念巴基斯坦核試驗的查吉紀念碑因各種不同的原因全部被毀。溫柏後來有機會訪問伊斯蘭堡的紀念碑舊址，並在原來的地方找到遺址殘骸，但馬上就被要求離開。在以城市擴張為由被拆除後，這個紀念碑本來應該在法蒂瑪真納公園重建，但層層的官僚主義讓人不知道這什麼時候才會發生。她就此採訪了公園裡的人們，但沒人知道它什麼時候會再次出現。儘管如此，查吉的鬼魂，就和人對紀念碑的期待一樣，始終在這裡徘徊。這部分的片段是她在 youtube 上找到的法蒂瑪真納公園；在那裡，一個男人深深地欣賞著這個空曠的公園之美。
「看起真的好美」
「風景看起來沒有它們本身那麼美」
「清澈的水都看得見，因為光的關係？」
「火花遊戲真的出現了！」
「對吧？」
「看起來真的很漂亮！是不是？」
「光全亮起來了」
The text here is ostensibly an instruction manual that the artist stitched together from her own writing, and text found from various sources including promotional material released by the state for the nuclear testing at Chaghi Hill and her Grandfather's poetry related to his garden, that satirically describes how we can ignite Chaghi even in the absence of the monuments. The proposal is to resurrect the memory of Chaghi through the scientific ideas related to a cone. This also becomes an entry point to discuss aligned ideas related to nationalism and patriarchy.
Clip on Pakistan Energy Commission:
https://www.youtube.com/watch?v=QwAQeMTr_80
這裡的文字表面上是藝術家從她自己的寫作中拼接而成的指導手冊，以及從各種來源找到的文字——包括國家發布的查吉山核試驗宣傳資料和她祖父為他的花園所做的詩歌，諷刺地述說我們如何在沒有紀念碑的狀況下讓查吉亮起來。這個提案的目的，在於透過與錐體相關的科學思想來喚起查吉的記憶。而這也成為討論與民族主義和父權制之間如何相似的切入點。
巴基斯坦能源委員會相關影片：
https://www.youtube.com/watch?v=QwAQeMTr_80
（弟兄們，我的弟兄們！）
（今天我們齊聚在此慶祝偉大的國慶日）
（擁抱並見證祂光芒閃耀的時刻）
（這些光芒照耀在我們身上）
（讓我們知道查吉與我們同在）
Chaghi-I is the code name of five underground nuclear tests conducted by Pakistan in 1998, and it was named after the area itself which is located in the northwest part of Pakistan. The aftermath of the nuclear tests is still a terrifying fact to the locals as the impacts of the radiation resulting from the blasts lingered and keep posing serious damages to local people’s health conditions, not to mention the highly polluted environment. In this sequence, Majeed’s wordplay seeks alternative imagery for the ruined land in order to "make way for the return of Chaghi."
“We must take the way of the garden, so the nature and pure can be reinstated. With the planting of the seed of knowledge, Chaghi shall return.” When the voice-over emerges, we see a digital model of mountains floating in the fluorescent green background. The digital reproduction of the landscape structures from Chaghi offers a symbol of convergence between nature and the digital. Especially, when it is accompanied by a female voice uttering Haara (means ‘lost’ in Urdu) and Hara (means ‘green’ in Urdu). Lost and green seem to bear similar connotations in both the natural and digital world due to its pronunciation. For example, the function of the green key studios that produce computer-generated images resembles a digital garden.
Just this year, the Pakistani nuclear physicist scientist A. Q. Khan who leads Pakistan's atomic weapons program passed away due to Covid-19. This news draws public attention again to the history of nuclear weapons in Pakistan and its political entanglements with Lebanon, Iran, and North Korea.
查吉-I是巴基斯坦於1998年所進行的五次地下核能測試代號，以位於巴基斯坦西北部的試驗地區本身命名，核試驗的後果對當地人而言仍是一個可怕的事實，因爆炸產生的輻射影響揮之不去，並不斷地對當地人民健康造成嚴重損害，更包括嚴重的環境污染。在這一連串影片中，馬濟德的文字遊戲試圖為為查吉這塊經歷摧殘的土地尋找另一種復甦想像方案。
「我們必須遵循花園之道，才能恢復自然和純潔。播下知識的種子，查吉便將回歸。」當旁白出現時，我們看到一個山脈數位模型漂浮在螢光綠背景中，查吉地景結構的數位再製即為自然與數位融合的象徵，尤其是伴隨著女生旁白以相似讀音的Haraa（烏爾都語的「花園」）和Hara（烏爾都語的「綠色」）進行的同音雙雙關遊戲中，「花園」和「綠色」之間有了共通性的聯想：電腦製圖的綠棚就像是數位花園。
領導巴基斯坦核能武器計劃的核物理科學家A. Q. Khan今年因新冠病毒去世，此消息再次引起公眾對巴基斯坦核武歷史及其與黎巴嫩、伊朗和北韓間政治糾葛的關注。
以下是讓查吉回歸的重要技巧
就是必須遵循花園之道
（才能回復自然與純潔）
（播下知識的種子，查吉便將回歸）
Haraa（花園）Hara（綠色）
（在旁遮普美麗的平原和偉大的印度河外）
（查吉將盛開綻放）
綻放
爆炸
綻放
爆炸
（記住祂的綠是錐體爆發成形的指南）
巴基斯坦原能委員會
讓我們想到我們的任務
（帶給人們能量與光）
（不要讓花園被摧毀）
The popular visuality associated with technology in the South Asian context can be found in the promotional material for Joy Tech, a computer shop started by the South Asian diaspora in Jackson Heights, New York.
在 「歡樂科技」 的廣告傳單上，可以看到一個有著南亞特色、與科技相關的視覺，而這是一家由南亞僑民在紐約傑克遜高地開設的電腦店。
（歡樂科技）
（電子產品與電腦）
（銷售與服務）
This animation is made from drawings of screens that Umber Majeed made while on a residency. The voice over follows the logic of language learning that she found in another children's book. The difference between the word for green and the word for lost in Urdu and Arabic is merely a syllable. She recorded her mother's voice enunciating the distinction between both words for this work. This play with linguistics attempts to conquer the green through its loss. The screens in the drawings are held up by what appears to be a zoetrope. She borrowed this element from books she found in New York in the early 2000s, that heralded it as an architectural marvel. She also practiced drawing gestures that the hands/fingers would make over the screen. She also uses an image of a phone cover which is also green and the graphic design on its screen becomes a point of entry to the green sky, indicating a turn inwards in search of the promised Chaghi monument.
這段動畫是根據藝術家在駐村期間畫的螢幕裝置圖製作的。此處的畫外音，則是模仿她在另一本兒童書中發現的語言學習邏輯。烏爾都語和阿拉伯語中的「綠色」與「迷失」兩個詞語中，僅有一個音節之差。在這個作品中，她錄下她母親的聲音，來說明這兩個詞之間的區別。在這種對語言學的玩弄中，她試著透過「失去」來戰勝那個「綠色」。畫中的螢幕裝置被一個看起來像是西洋鏡的東西托著，而這個畫面的靈感來自於她在 2000 年代初在紐約蒐集的書本，預示著它是一個建築奇蹟。她還練習畫出手／手指在螢幕上做的手勢。她的手機殼也同樣是綠色，而她的手機桌面的圖像設計則成為進入綠色天空的入口，轉往內心尋找那被應許的查吉紀念碑。
Haraa（花園）Hara（綠色）
Haraa（花園）
「花園中綠草如茵」
「巴基斯坦國旗是白色與綠色組成」
（伊斯蘭書局）
喔，查吉
The following sequence provides a direct implication to the title of this film: In the Name of Hypersurface of the Present.
Before touching upon the definition of a hypersurface, Majeed starts with meditation-like footage that contains a compass with a fluorescent green icon of the earth on it and two skinless female bodies are stretching beneath this compass. A calm voice states, “The cone is a state of mind...” And the two skinless female bodies turned into a peculiar form that resemble pudendum as well as flowers. The correlation of the female body and the ideology that the shape of the cone represents is presented. This is another imaginative analogy that Majeed will later proceed to perform.
影片接下來的片段直接暗示了本作名稱《當下的超曲面》。
在談到超曲面的定義之前，藝術家馬濟德從冥想般的片段開始，一個帶有螢光綠地球圖案的羅盤下有兩具沒有皮膚的女體在伸展著，一的平靜的聲音說道：「錐體是一種心態…」，同時間兩具無皮女體化作一組奇特樣式，形似陰蒂，也似花，突顯了馬濟德對於女性身體與錐體思維之間的類比。
In this ironically ideal space, we see an illustration of a compass from a children's book bending a stock image of a body used for 3D rendering, instrumental in animation and gaming technology to build characters. The bodies contort into a cone, a cone like the hill. Working collaboratively with an animator, Umber Majeed shows how bodies bend themselves to fit within the contours of an ideology. In a televised transmission of the nuclear testing, over the blast, one can hear a shrill voice saying Takbeer (God is great). Nuclear nationalism is focused on the moment of the blast.
PTV broadcast of the nuclear tests:
https://www.youtube.com/watch?v=hsCDNBaA57A
在這個具有諷刺意味的理想空間中，我們看到童書中的指南針圖使得身體的圖像開始彎曲；這個由圖庫抓來的身體圖像用於3D渲染，好幫助動畫和遊戲進行角色建構。身體扭曲成一個圓錐體，一個像山丘一樣的圓錐體。溫柏．馬濟德與動畫師合作，展示了身體如何把自己彎曲成意識形態的樣貌。在核試驗的電視轉播中，爆炸發生後，人們可以聽到一個尖銳的聲音說著：「Takbeer」（上帝是偉大的）。在爆炸發生的那一刻，人們關注的是核民族主義。
核試驗的 PTV 廣播：
https:// www.youtube.com/watch?v=hsCDNBaA57A
錐體是一種心態
Takbeer（上帝是最偉大的）
The introduction to hypersurface begins. Here one can identify the links between phenomenology—through which faith grounds itself—and theoretical physics. The script is also developed from literal definitions within theoretical science which moves science into an abstract realm. Umber Majeed tries to link the idea of the ephemeral with the world itself. If a nuclear war could end the world, and if the earth is only a transitory home for the soul, then the entire world could be reduced to the moment of the blast. In theoretical physics, time and space is measured through the past and the future. The visual representation of this resembles a two cones, one on top of the other.
對超曲面的介紹就此開始。這裡，人們可以確定現象學——信仰的基礎——與理論物理學之間的關聯。而該腳本也是從理論科學中的字面定義發展而來的，並將科學推向了一個抽象的領域。 溫柏．馬濟德試圖藉此將轉瞬即逝的想法與世界本身聯繫起來。如果一場核戰爭就能終結世界、如果地球只是靈魂的臨時家園，那麼整個世界都可以化約成爆炸的那一瞬間。在理論物理學中，時間和空間是通過過去和未來衡量的。而這個概念的視覺化表現則類似兩個上下交疊的錐體。
（平滑超曲面（編輯））
Hypersurface refers to the space beyond two or three-dimensional structure. In other words, the n-dimensional space. This concept is not only applied to digital design but is also a key term for understanding the philosophy of time. Therefore, in this sequence, we see that Majeed demonstrates two digital models of human heads and exposes the mathematical elements—in this case, the logic of cone. In addition to this, the voice-over contemplates the ideas of soul, time, heaven, and Duniya (world). The train of thoughts on temporal continuity might be seen as a reference to the physicist Stephen Hawking’s analysis on “the shape of time.”
Here, Majeed incorporates the phenomenon of the blast to address the possibilities for thinking about the future. Blast and light are the primitive stages of the Big-Bang theory. It would be interesting to connect those ideas to the nuclear test that is previously mentioned in the work. The blast signifies total destruction, yet an overture of a coming era. Although the era that the nuclear test opened can only be disastrous to the ones who lived, looking through the cone of light we might envision that there is still a zone to repent.
超曲面是指超出二維或三維面向的空間，即n維空間，此概念不僅適用於數位設計，也是理解時間哲學的關鍵詞，因此這段影片中，我們看到藝術家馬濟德展示了兩個數位人頭模型，並呈現了數學元素，即模型中的錐體邏輯。此外，旁白思索著靈魂、時間、天堂和Duniya（現世），這一連串針對時間連續性的反思可被視為對物理學家史蒂芬．霍金「時間的形狀」的延伸參考。
於此馬濟德結合了爆炸現象來處理思考未來的可能性，爆炸和光是大爆炸理論的原始階段，將這些想法與之前影片中提到的核能測試並置討論會很有趣。爆炸意味著徹底的毀滅，但卻是即將到來的時代之序曲，雖然核試驗開啟的時代對於活著的人而言僅為災難，但透過光錐我們仍然可以想像一個能夠尋求全新救贖的平行時空。
（流形較平滑的超曲面稱為平滑超曲面）
如果靈魂可以征服時間，活在極樂天堂
那麼活在這個世界呢？
Duniya，現世
它是當下的超曲面
是爆炸產生的神聖火花
無論是受造還是非受造的光
或者如有些人所說，兩者皆非
懺悟時空的四維流形式
透過光錐思考未來
便永遠不會想太多
Fiction wrapped around an actual advertisement in Long Island for emerald, the green, precious stone. The text we see was photoshopped over it. 'Come closer' is a prompt for the viewer, activating their body in relation to the screen, as if to say: Activate the green light in your body with the gemstone to become closer to spiritual and nuclear nationalism.
以綠寶石為核心，一個建基於一則長島的真實廣告而發展的虛構小說就此展開。我們看到的文字是經過 Photoshop 處理的。「靠近」是對觀眾的提示，用來啟動與螢幕相對的身體，彷彿在說：用寶石引發你體內的綠光，才能更接近靈性和核民族主義。
（知名的綠色對女性有強大的影響力）\\ \\ \\ \\ \\ \\ \\
（靠近一點）\\ \\ \\ \\ \\ \\ \\
跟著我念
Images from a children's book for language learning emphasise the play between Hara (green) and Haara (lost).
取自兒童語言學習書籍的圖片強調了 Hara（綠色）和 Haara（迷路）之間的文字遊戲。
Hara（綠色）
Hara（綠色）
The contentious terrain of cartography holds that all maps are semi-fiction. The global map is not an accurate representation. The maps from another children's book found in the US is superimposed with domes—forms that relate to the female body and also architecture. The objectification of women within the confines of nuclear nationalism renders it a form that can be inflated at will, like a kid's toy. Women are not represented within the state's ideology, except as a vessel for creation. They suffer the physical consequences of birthing. Yet within conversations on rebirth, and creation and destruction being one and the same—since the life of the soul does not end with death according to this ideology—they do not feature. The dome dismantles itself to spread the green and conquer the world.
在製圖領域內，有種爭議性的看法認為，所有地圖都是半虛構的。全球地圖並非是全球地區的準確再現。藝術家在美國發現的一本兒童讀物的地圖上添加了穹頂圖像——一種與女性身體和建築相關的形式。在核民族主義下，對女性的物化使穹頂變成一種可以隨意膨脹的形式，就像孩子的玩具一樣。除了被當成創造後代的容器，女性在國家的意識形態中毫無地位，只能承受分娩的生理後果。然而，在與那個重生、創造和毀滅皆為一體的對話中——根據這種意識形態，靈魂的生命不會以死亡結束——她們並不存在。穹頂自我拆解、綠色從中散播，進而征服世界。
（開始探索大自然奇蹟）
Chaghi is within you, as is the state's ideology. The splendor template head here functions as a site to describe the role of women within the state's gaze, and also pervading limited understandings of the female body. All the physical forms in the work are stock imagery. Bismillah turns into a cone, similar to the form of the nose. The instructions tell you to activate the cone cells in your eye by coming closer to the screen. The way the eye processes sight also resembles a cone. "Urgent: Deleting muslims" is taken from a spam email that was sent to Umber Majeed. The paranoia of the subject-line of the email contributes to general euphoria around religious and nuclear nationalism. the pop up message, also a stock image, invites us to click fix, but the option is inactive.
查吉就在你的體內，而國家的意識形態也是。這裡絢麗的頭部模板，起到了描述女性在國家凝視中的地位以及對女性身體的有限理解的作用。作品中所有的身體型態都來自於圖庫。Bismillah變成了一個圓錐體，類似鼻子的形狀。這裡的指示要你靠近螢幕以啟動眼睛中的視錐細胞。眼睛處理視覺的方式也類似於錐體。「緊急：刪除穆斯林」取自發送給溫柏．馬濟德的垃圾郵件。電子郵件主題所展示的偏執，激起了伊斯蘭教和核民族主義的興奮感。畫面中彈出的訊息也來自於圖庫，邀請我們點擊修復，但該選項卻不是在啟動的狀態。
自然純淨的世界就在我們體內
（絢麗的模板頭）\\ \\ \\ \\ \\ \\ \\ \\ \\
雙眼靠近螢幕
（啟動視網膜中的視錐細胞）
（緊急：刪除穆斯林（收件箱））
（錯誤：點擊「修復」以修復錯誤）
Hay、Re、Alif（烏爾都語字母）
Hara（綠色）
This segment of the work emphasises that the citizen's body is always wrong. Following the common practice, especially among children, in South Asia of crossing one's forearms and pulling one's earlobes, when we make a mistake, the artist speculates that this action could perhaps get the cones of the ear to work. Once you apologise—stick your tongue out and say you are sorry—the spirit of green will spread to your tongue as well.
作品的這部分強調公民的身體永遠是錯誤的。仿效南亞兒童在犯錯時最常做的動作，交叉前臂和拉耳垂，藝術家推測這個動作可使耳錐起作用。一旦你道歉——伸出你的舌頭說對不起——綠色的靈也會蔓延到你的舌頭上。
你聽得到嗎？你聽得到嗎？
Tauba（轉身離開）
Ha - ra（綠色）
（轉身離開螢幕）\\
Tauba（轉身離開）
讓祂的綠色進入你的耳膜
（照亮你的光錐）
Hara（綠色）
Hara（綠色）
Citing a poetic verse from the Quran, and drawing inspiration from her grandfather's photographs of flowers blooming, Umber Majeed recalls a story from the Quran in which Abraham was thrown into a fire, and flowers bloom in its place. This possibility of reinvention, and reincarnation makes us wonder what we can do to reinvent the political body. A lotta (watering can) waters a seed until it becomes a blooming green flower. The work then goes into the benefits of green light therapy. Light doesn't have a gender, but here in this found image that points out the benefits of green light, it is female.
引用古蘭經中的一首詩，並從她祖父照的、花朵盛開的照片中汲取靈感，溫柏．馬濟德回憶起古蘭經中亞伯拉罕被扔進火中，然後在那裡開出滿地鮮花的故事。這種重塑和輪迴的可能性讓我們不禁好奇，我們還可以做些什麼來重新打造政治身體。 用lotta（噴壺）幫種子澆水，直到它變成盛開的綠色花朵。接著，這個作品開始講起綠光療法的好處。光沒有性別，但在這張指出綠光好處的照片中，光是女性。
讓Andaz-e-Gulistan（烏爾都語）
即花園之道開啟你的心靈
（這是極難得的機會）
（我能從花園的泥土看見亞當重生的樣貌）
（綠色：女性）
綠色是自然界中最主要的顏色
常在其他顏色之前和之後運用
以讓整體更平衡
因此穿綠色衣服者常是優秀的心理學家
（淺綠色：女性原則）\\ \\ \\ \\ \\
A drawing based on a software manual from the 1990s.
一個根據 1990 年代軟體手冊所畫的手繪圖。
（勿忘我）
綠光療法的原理與光合作用類似
Greenlight face mask.
綠光面具。
都是再現自然
Hay、Re、Alif（烏爾都語字母）
Hara（綠色）
Female bodies arch awkwardly forming a gate-like entrance below a distorted version of "Bismillah" inviting you to the digital garden after the blast.
女性身體笨拙地拱起，在變形版的「Bismillah」下方形成一個門狀入口，邀請您在爆炸後進入數位花園。
The main figure in the last sequence of the work is an incomplete leg. It slowly raises from the fluorescent green digital mountains. On top of this incomplete leg, a cone-shaped item is installed. This peculiar composition is later found surrounded by digital photographs of flowers. It would be interesting to view this ending in comparison to Natasha Tontey’s The Epoch of Mapalucene (also screening in Phantasmapolis: Looking back to the future). They both present a solo dance of figures with symbolically maternal strength in a digitalised utopia full of natural elements.
When the film is reaching the end, a board on the flowered wall reads: “A topic Evolution cannot explain: Harmony and Symmetry.” This slogan is reminiscent of Donna Haraway‘s book
Simians, Cyborgs, and Women: The Reinvention of Nature (1991).
作品最後一部分的主要形象是一條不完整的腿，它從螢光綠的數位山脈間緩緩升起，一個錐形物件被安置於這條不完整的腿上方，如此奇特的組合隨後被鮮花的數位影像所包圍，這個結局可以與娜塔莎．通蒂的影片《馬帕盧斯紀元》（也在展覽「未至之城：回望未來」放映）對照閱讀，兩部片都在一個充滿自然元素的數位化烏托邦中展示了象徵著母性力量的人物獨舞。
正當本片接近結尾之時，鮮花牆上的板子寫這「一個進化論無法解釋的議題：和諧與對稱」，這個標語令人聯想起唐娜．哈洛威於1991年出版的著作《猿猴、賽伯格和女人：重新發明自然》。
We see conical interpretations of body parts. This is the partial female body formed under an objectifying gaze, but could also be imagined as assembled from the remnants of the blast. The garden here is created from images of flowers in the chapter on evolution, and the chapter on how god created nature, from the theistic science book for children that the artist found in her parent's home. The repetitive tabla music indicates anticipation that something is yet to begin, like the tabla rhythms at the start of a qawwali (devotional music).
我們看到身體部位的錐形解釋。這是在物化的凝視下形成的部分女性身體，但也可以想像成是由爆炸的殘餘物組裝而成的身體。這裡的花園是根據進化論一章中的花朵圖像，以及上帝如何創造自然的章節中創建的，而這些來自藝術家在她父母家中找到的兒童有神論科學書籍。重複的 tabla 音樂表示對某些事情即將開始的期待，例如 qawwali（奉獻音樂）開始時的 tabla 節奏。
（一個進化論無法解釋的議題）
（和諧與對稱）
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