邊界
biānjiè research group
邊界_RG its an artist collective and a research group. They work at the edge of language, memory, and machine cognition. Their collaboration explores the aesthetics of the recursive interplay between generative systems, speculative design, experimental essay, and posthuman modes of communication.
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fieldware, Ian Margo
Vertigo2, Alexandre Montserrat
third extension, Ian Margo
After Notre Dame, Arash Farhadi
Automemoriel, Alexandre Montserrat
the wet box, Ian Margo 
Ruins without nostalgia, Marcos Parajua
my beloved new face, Ian Margo
GATE-1, Ian Margo
Vertigo²
Alexandre Montserrat


publication

(...) Historical representation's progressive unmooring from positivist certitude, its recognition as a discursively and mythically shaped domain, discovers a potent contemporary inflection with Large Language Models. Such systems appear, offering less passive archival functions or neutral narrative conduits, more formidable ‘writing machines’ actively operationalising the construction of historical understanding. An LLM, in this capacity, presents an unprecedented historiographical agent. It moves beyond recording or interpreting the past to effectively generate textual instantiations, guided by an intrinsic, data-derived logic...(more)
Third Extension, a brief essay
on technology and language
Ian Margo

publication artwork video
After Notre Dame / burning_church / techno-linguistic program for the Artic Circle
Arash Farhadi

publication collaboration theory-fiction

(...) When the ocean retreats, an extensive desert emerges / the museum lies across it, 9 days on foot, 1 more day for the cult. We studied the cathedral's blueprints hoping to find signs of the assassination / my beloved new face is built upon abstract machines. It narrates the face being performed, the burning territory / in a dream, the cathedral was burning. The verticality of the structure / the verticality of the fire / manifested the mediocrity of the fall, its numbness. We imagined forests surrounding the ruins of what we had annihilated / burning_church rises from my beloved new face or, rather, detaches from it, taking the form of a museum in a desert; you will reach this -final- place, and, once arrived, there will be nothing left to do / Arabesque Dune / the face in burning_church emerges around the mask - "worship of the body" / body in flames / the flute inside Saddam’s bunker, and the air runs out...(more)

Ruins without nostalgia
Marcos Parajua

publication

(...) What remains after an event? Does language prevail over an image or a sound in presenting “that which remains”? Edmund Burke invokes Milton: “(Over) many a dark and dreary (valley) They (passed), and many a region dolorous; (Over) many a frozen, many a fiery Alp; Rocks, caves, lakes, dens, bogs, fens, and shades of Death”. Burke contends: “This idea or this affection caused by a word (Death), which nothing but a word could annex to the others…”.1 In this saying, the ways of romantic visual arts are too articulate to lend proper care to indeterminacy. Retrospectively we might argue that Burke contemplated abstraction exclusively as “thought” realised in language but I´d rather follow a different inquiry. Burke also conceives descriptive language an insufficient correlate of the object described; this, he observes, is not a problem of clarity but intensity. To bridge the difference...(more)









publication artwork“third extension” emerges as an aesthetic exercise of abstraction and artificialization of the face through these recursive dynamics of encoding and recoding the sign...(more)









artworkfieldwareIan Margo 2025, digital video, color, sound 16:9 4K, 11:00min...(more)