In an age of decontextualized information, circulation has become a substitute for authority. Gaigaau confronts this reality: when attention is quantified, emotion is commodified, and images are endlessly reproduced, truth is no longer determined by evidence but by visibility and velocity.

Gaigaau stages a deliberate intervention into the mechanics of belief. It asks a blunt question: when traffic replaces fact, how do algorithms and memes rewrite faith? This project refuses to treat that question as rhetorical. It treats the production of credibility as a political technology to be exposed, disrupted, and contested.

The work constructs a fictional religious system as an experimental apparatus. By fabricating deities, scriptures, relics, and pseudoarchaeological artifacts, Gaigaau simulates the cultural infrastructure that manufactures conviction. The project insists that belief is not merely private or irrational; it is engineered through repetition, ritual, and circulation. The installation is not satire alone. It is a forensic probe into how authority is assembled in the digital age.

Religious and political authority have always traveled on the back of reproducible images and texts. From European woodcuts to East Asian printed sutras, reproducibility made doctrines portable and persuasive. Today, social platforms and meme economies accelerate and amplify that logic. Gaigaau relocates this genealogy to the present and demonstrates that reproduction and distribution have become the conditions of truth.

The Siōng Tshinn sector is configured as a quasi‑religious archaeological museum. Faux‑antique prints, gilded chicken icons, a “chicken Buddha,” accessible holy water, and talismans form a complete ritual system. Visitors are invited to participate: take an object, read a scripture, perform a rite. These interactions collapse the boundary between history and invention and render the manufacture of belief into a set of observable, repeatable actions. The work transforms spectators into co‑producers of credibility.

Gaigaau issues a stark warning: when faith divorces reason and truth divorces history, social values risk becoming algorithmic artifacts. The project demands that we interrogate the sources of credibility and reclaim practices of verification. It poses urgent, actionable questions: How do we recognize truth within designed visibility? How do we defend memory and judgment under a traffic economy? Gaigaau is not an endpoint but a provocation—a public site for reflection, dialogue, and the reconstruction of verification practices that preserve critical capacity and collective memory.

在去脈絡化的信息時代,流量已成為權威的替代物。《雞教》直面這一現實:當注意力被量化、情感被商品化、影像被複製,真實不再由證據決定,而由可見度與傳播速度塑造。

《雞教》以一個虛構的宗教體系作為實驗場,檢驗當代信仰如何在數位生態中被製造。作品提出一個尖銳命題:當流量取代事實,信仰如何被演算法與模因重寫? 本作不僅是諷刺或幽默,而是對權威生成機制的直接干預與揭露。

宗教與權威的擴散歷來依賴圖像與複製技術——從歐洲木刻到東亞經文印刷。當代的社群平台與迷因文化延續並加速了這一邏輯,使影像的複製性成為新的證據形式。《雞教》將這一歷史線索移植到數位時代,指出複製與流通本身即成為真實的生產條件。

展場被佈置為一座類宗教的考古博物館:仿古版畫、偽考古文物、金雞聖像「雞佛」、可取用的聖水與平安符構成一套完整的儀式系統。觀眾不再是被動觀看者,而被邀請成為信仰生產的參與者——領取物件、朗讀經文、完成儀式。這些互動模糊了歷史與虛構的界線,將「信仰的製造」從抽象概念具體化為可操作的行為。

《雞教》提出一個嚴厲的警示:當信仰不再依賴理性、真實不再依賴歷史,社會價值可能淪為演算法的產物。作品要求我們重新審視「可信度」的來源,並提出行動性的問題:我們如何在被設計的可見性中辨識真實?如何在流量經濟下保衛記憶與判斷力?《雞教》不是終結,而是一個啟動點——一個讓公眾反思、對話並重建驗證實踐的場域,並思考如何在其中保留批判的能力與公共的記憶。