In lieu of an abstract, here is a brief excerpt of the content:

• Polymerized Heritage
• Fyerool Darma (bio)

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Close up of P ♥ rtraire Family (featuring rawanXberdenyut, Aleezon, Tuan Siami, A.I.den and Lé Luhur from the exhibit “Radio Malaya: Abridged Conversation About Art,” National University of Singapore Museum, South and Southeast Asia Collection and Autaspace. Photography by Jonathan Tan.

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[ Fri • 9 Jun 2023 • 01:15 PM • Telok Blangah • Singapore ]

2023, Singapore—The city-state played host to a series of conferences bringing together blockchain technology and art; yet digital exclusions persisted within and beyond its geographical landmass. Is it not ironic when art becomes a stream that hosts the ambitions of the Green Plan against this Smart Nation? What did I take from the advice, “màn màn lái~”¹? How can these intricate circuitry hint to the collaborators or are they traces of colluding crests?

There is an energy shield that dissolves into a fibrous hue of chrome. It brought me to my heritage—the polymeric surface—“Am I minimizing my ecological footprint with this material? Why should I bear the burden of responsibility when it is the negligence carried forward by my parents, their post-Merdeka generation, and the ones before? What happens when artists employ these fossilized detritus? Lao Ban Niang,² your grandchild of the Plastic Age, explored these cues that were once utilized as military equipment—I am repurposing it as a razzle dazzle camouflage against a heritage. What can you decode of these surfaces? Could its verso hint at formations or are they compressions of oversampled marks from the saturation of our heritage that you love? Whose heritage? What heritage?”

Polyvinyl decals are a heritage of the present. They are cues to a sonar measuring the intricacy and intimacy of metrics for the materiality of the digital born and physical labor. They are slippages of overlooked heritage in the digital depth that underlies industrial legacies to systems that continue into our digital age. It is a portal where the digital wades. They are traces to energies of the bodies that mined precious minerals—processed, grinded to powder, suspended onto emulsions of CMYK and tattooed onto surfaces. Vinyls carry evidence of manual, intellectual, and creative labor. They are cues to the co-production between society and automotion. As soon as it is applied to a surface, the energy of the labor evaporates from the cache. Can polyvinyl decals resemble self-fashioned textiles? Do they carry the incantations of tattooed weavers and loom makers? What material possibilities arise amidst this obfuscation? These thoughts explore data waste’s societal impact. What happens after its optimized use? Easily discarded. They are a material that highlights the digital-physical divide. Can it be seen as the pulse of art, [End Page 101] science, technology, and digital surfaces that delve into heritage and industry crevices? Whose heritage? Which industry? My heritage is of artificiality, polymerized through these forms of complexities.

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View full resolution Figure 2.

Close up of P ♥ rtraire Family (featuring rawanXberdenyut, Aleezon, Tuan Siami, A.I.den and Lé Luhur from the exhibit “Radio Malaya: Abridged Conversation About Art,” National University of Singapore Museum, South and Southeast Asia Collection and Autaspace. Photography by Jonathan Tan.

Polyvinyl decals and textiles symbolize our consumer culture and commodification. In combining them, conventions are shifted, and a subversion of dominant and dormant narratives of heritage and consumerism are displayed. What implications does this interplay have for art, technology, commerce, and society? What does the use of polymeric vinyl between heritages to historical materials such as clay, wood, bamboo, gold, bronze, silver, or oil pigments in cultural objects like lantaka,³ kasut manek,⁴ creese,⁵ ceramics, tikar, batik, songket, limar, and paintings reveal to us? These screen-shots are dead links from those cues. They are conversions [End Page 102] of energies from the mining of minerals and carbons, they are toils of the Lé Luhur.

We have witnessed the presence of polyvinyls adorning the bodies of tuk-tuks, its intricate cuttings on the #ex5dream that harmonizes with the chirps and silenced cosmos. Billboards and glass doors are blanketed in vinyls. They are gastronomic guides to...

中文翻译：

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聚合遗产

以下是内容的简短摘录，以代替摘要：

• 聚合遗产
• 费耶罗尔·达玛 (简介)

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查看完整分辨率图 1。

P ♥ rtraire 家族的特写（以 RawanXberdenyut、Aleezon、Tuan Siami、AIden 和 Lé Luhur 为主角，来自“马来亚广播电台：关于艺术的简短对话”展览、新加坡国立大学博物馆、南亚和东南亚收藏以及 Autaspace。摄影：Jonathan谭。

[完第100页]

[ 星期五 • 2023 年 6 月 9 日 • 下午 1:15 • 直落布兰雅 • 新加坡 ]

2023 年，新加坡——这个城市国家举办了一系列汇聚区块链技术和艺术的会议；然而，数字排斥在其地理范围内和之外仍然存在。当艺术成为承载“绿色计划”野心、反对这个“智慧国家”的一股潮流时，这不是讽刺吗？我从“màn màn lái~” ^{1 的}建议中得到了什么？这些错综复杂的电路如何向合作者暗示，或者它们是否是共谋波峰的痕迹？

有一个能量护盾会溶解成铬色的纤维状色调。它让我想起了我的传统——聚合物表面——“我是否用这种材料最小化了我的生态足迹？既然这是我的父母、他们的后独立一代以及以前的一代所造成的疏忽，为什么我要承担责任呢？当艺术家使用这些化石碎片时会发生什么？老半娘，² 你塑料时代的孙子，探索了这些曾经被用作军事装备的线索——我将其重新利用为对抗传统的炫目迷彩。你能解码这些表面的什么？它的反面是否暗示了结构，或者它们是来自您所喜爱的我们传统的饱和度的过采样标记的压缩？谁的遗产？什么传承？”

聚乙烯贴花是当今的遗产。它们是声纳测量数字出生和体力劳动重要性指标的复杂性和亲密性的线索。它们是数字深度中被忽视的遗产的滑落，这些遗产是工业遗产和系统的基础，一直延续到我们的数字时代。这是数字涉足的门户。它们是开采珍贵矿物的身体能量的痕迹——经过加工、研磨成粉末、悬浮在 CMYK 乳液上并纹身在表面上。黑胶唱片承载着体力劳动、智力劳动和创造性劳动的证据。它们是社会与汽车之间共同生产的线索。一旦将其应用到表面，劳动的能量就会从缓存中蒸发。聚乙烯贴花可以像自制的纺织品吗？它们是否带有纹身织布工和织布机制造商的咒语？在这种混乱之中出现了哪些物质的可能性？这些想法探讨了数据浪费的社会影响。优化使用后会发生什么？很容易被丢弃。它们是凸显数字与物理鸿沟的材料。它能否被视为 深入遗产和行业缝隙的艺术、 [完第101页]科学、技术和数字表面 的脉搏？谁的遗产？哪个行业？我的遗产是人工的，通过这些复杂形式聚合而成。

单击查看大图
查看完整分辨率图 2。

P ♥ rtraire 家族的特写（以 RawanXberdenyut、Aleezon、Tuan Siami、AIden 和 Lé Luhur 为主角，来自“马来亚广播电台：关于艺术的简短对话”展览、新加坡国立大学博物馆、南亚和东南亚收藏以及 Autaspace。摄影：Jonathan谭。

聚乙烯贴花和纺织品象征着我们的消费文化和商品化。在将它们结合起来时，传统被改变，传统和消费主义的主导和休眠叙事被颠覆。这种相互作用对艺术、技术、商业和社会有何影响？遗产与历史材料（如粘土、木材、竹子、金、青铜、银或油画颜料）之间的聚合乙烯基在兰塔卡、³ kasut manek、⁴ creese、⁵ 陶瓷、tikar、蜡染、songket等文物中的用途是什么、利马尔和绘画向我们揭示了什么？这些屏幕截图是这些提示的死链接。它们是矿物和碳开采产生的能量的转化[结束第 102 页] ，它们是Lé Luhur的辛劳。

我们亲眼目睹了嘟嘟车车身上装饰着聚乙烯树脂，#ex5dream 上复杂的切割与叽叽喳喳的声音和寂静的宇宙融为一体。广告牌和玻璃门都覆盖着乙烯基。他们是美食指南...