Schrödinger’s Patient

This piece emerges from the tension between uncertainty and embodiment — a field structure where time, resilience, and decay exist not in opposition, but in scalar harmony. It is not a depiction of illness. It is a map of living systems under unresolved observation.

Built on the logic of biotensegrity — where structure arises from distributed tension — Schrödinger’s Patient positions the body as both agent and object in an emergent physics of survival. The half-life is not metaphor. It is the geometry.

✦ Myth as Structural Language

• Queen Mother of the West anchors the central tension: not “life force,” but the dynamic coherence of vitality — emergent, modulating, systemically upheld.

• Meng Po, as entropy and memory erasure, forms the gravitational base of the structure — not simply “Yin,” but a quantum forgetting, entangled with remission, trauma, and reformation.

• White Tigress is recurrence-as-field: a Yang surge of vigilance, sharp and unresolved, embedded in the fascia of future time.

✦ Metal, Misalignment, and Western Biopower

Western medicine maps its metaphysics to control and extraction — its alignment with the Metal element is purely instrumental. It recognizes edges, but not containment. It cuts, isolates, and classifies — but does not perceive systems in dynamic wholeness.

Schrödinger’s Patient confronts this directly. It holds the contradiction of diagnosis as collapse and uncertainty as structure. It reflects the body not as site of pathology, but as resonant computation: a whole under constant recursive observation.

✦ A Field Study in Emergent Physics

This is not metaphor. It is field articulation.

The artwork models how alchemical transformation arises within tension:

• Where remission is neither cure nor failure

• Where impermanence is not absence, but feedback

• Where the observer is part of the collapse

Light and shadow are not aesthetic dualities. They are scalar expressions of phase.
Survival is not resolution. It is iteration.

Schrödinger’s Patient invites the viewer to remain inside the threshold — not to solve, not to escape, but to inhabit the fragile, recursive miracle of coherence that we call a life.

It is not a meditation on impermanence.
It is a structural demonstration of it.