Eternal Terra Ear 永恆泰拉 and an interview With its founder, Yidi Wang
June 2025
Yidi Wang
@eternal_terra_ear @yidi.lola
Yidi Wang is a future infrastructural strategist and founder of Eternal Terra Ear, exploring the intersections of environmental systems, digital platforms, and socio-technical infrastructures. Coming from rural China and trained as a social architect in Hong Kong, her work bridges speculative design, ecological intelligence, and platform governance, with a focus on post-extractive economies and future justice.
At Sciences Po’s Open Institute for Digital Transformation, Yidi contributed to a data sprint analyzing greenwashing and political advertising on Meta within the framework of the EU Digital Services Act. Her research delves into bio-intelligence, aquacultural circular transitions, and spatialized synaesthesia in ecosystem, which she has presented at international forums such as IRCAM Centre Pompidou with Jessica Newfield from Sustainable Ocean Alliance.
Yidi is committed to developing alternative models of cultural and ecological infrastructure, advocating for participatory governance, and fostering civic imagination in the face of accelerating platform economies.
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Eternal Terra Ear (ETE) is many things. An Alternative Platform as Cultural Infrastructure for Planetary Biointelligence, Post-Mining Participatory Governance & Fundraising
ETE (Eternal Terra Ear) is a future citizens’/creatives’ policy initiative exploring how cultural and socio-technical infrastructures can be co-imagined through common policy-writing practices.
We converge Alternative Economic Models, Planetary Biointelligence, and Speculative Governance. Blending civic science, critical infrastructure analysis, and sensory design, we transfigure the ecological, technological, and experimental toward participatory futures.
As a non-profit cooperative, we are open to host commissioned community talks, workshops, exhibitions, and develop citizen science toolkits on the issues on digital infrastructure and biointelligence. We are well connected with the planetary Fab Labs network inventing low-tech creations such as WoMa Fabrication Paris.
Eternal Terra Ear 永恆泰拉耳 Calls For:
Self-identified Intellectuals:
on the fields of experimental art, political science, international relations, diplomacy, cultural infrastructure, AI for social good, environmental laws, platform economy, philosophy.
Together, we form a planetary thinking organ.
ETE Runs:
Planetary Exhibitions
Milan, Hong Kong, Shenzhen, China, Paris.
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Independent Art Spaces
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Citizen-Engaging
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Experimental Policy
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Digital and Environmental Transition
We are developing toolkits for everyone to learn how to regulate VLOPs (Very Large Online Platforms) like Meta.
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ETE Makes:
Digital Journal Experimental Art, peripheral Case Analysis for Planetary Digital, Environmental Future and Now.
Surrounding this general topic, we welcome 1500-word submissions worldwide on:
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Ecocriticism
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Adaptation and resilience
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Experimental Art’s Composition and Future Innovative Alternatives
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Global South Transition and Regional Analysis
Define your own topic and explain to us in your letter how it could contribute to Future Planetary Infrastructural Policy.
Submit via info@eternalterraear.xyz by June 5.
ETE Provides:
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Consultancy & Matchmaking
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Low-Tech Design Solutions
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Innovative Metrics
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Membership
with Citizens, Artists, Researchers, Activists, philosophers, and Policy-Makers
We are open for funders, partners, independent practitioners, and collaborative institutions.
We are actively setting up a digital journal, planetary exhibition spaces, and future growth consultancy for experimental art and playground in addressing digital and environmental transitions physically.
We primarily focus on peripheral and emerging regions planetarily such as Greater Bay Area connecting Hong Kong and mainland China, rural Southeastern Asia, and the Baltics in the EU.
We redefine Art, the Division between Global South/North through Experimental Creation.
How does your background in architecture influence your approach to blending sound, space, and the physical environment in your work?
YW: I wasn’t a good student in architecture but I was self-convinced as a good future architect who doesn’t construct in the traditional judgmental system. My frustration in education institutions for a strict disciplinary mindset made me always strive for more space for my mind and heart to grow. However ignorant one person as an aged master in a hierarchical structure can be, books won’t be disrespectful towards one’s creativity nor record anywhere else but human intelligence can reach. Libraries and bibliotheques are my favorite places to go and immerse. It’s a state like a cat that is always attracted to any movements, sound, abstract, or tangible forms. But above all, I still got what I wanted in the architectural field which was surprisingly classified in social science, yet to think about geometries and aesthetics in any wild meaning as the planet and social organizations can hold. I also read Kant a lot during that period though people say he’s a terrible writer.
Noise Landscape
Could you elaborate on how synaesthesia and chaotic intelligence inspire your artistic choices and methodologies?
YW: It’s a manifestation of how I approach architectural design and my existence. It’s in everyone like how the ancestors say about spirits. It’s the methodology itself. I’m still trying to find a comfortable relationship type with my own decision-making. As there are many different art genres out there, I don’t overdose but sometimes never refer to anyone’s work. References and inspirations are gathered from the moments that I truly enjoy something. Aesthetics is something essential to my wellbeing however debatable it is as morality is.
You’ve described your practice as combining empathy with regional humanities studies - can you share a specific project where this approach was most impactful?
YW: That will be the project that I am working on right now on climate advocacy but I’d like to mention anthropological life experiences in Hong Kong. I wrote a semi-fictional poetry-novel about it (in Chinese). It’s such a bizarre city crowded by people from any place you can find in the world and mostly labor whose packed tiny home space could hold their complex life story. Chung King Mansion, Shum Shui Po, hidden slams neighboring Airbnb in high-rising buildings in Sheung Wan… Compared to the weight of these mundane lives, the empirically different prototype I designed for the homeless was light as a toy. I still try to find empathy through death, animals, and myself. I want to focus on Southeastern Asia and developing countries more in my upcoming practices.
Synthetics Linearity
Causeway Bay Hong Kong, High-rising tower merging market and office.
Fishing Village Cooperative Housing: Hong Kong Tai O
How has your time in Hong Kong shaped your artistic sensibilities, particularly in relation to urban spaces and cultural narratives?
YW: Oh, this time I returned, I would say I was like a cat in the HyperCity, mostly solitude in a mountain, yet free to do artistic experiments while nobody understood in that serious academic circle I was in. Analog photography, lately was shown in ZoneMag’s open call post after almost 6 years taken. Mixed colors were amazing on the urban streets. They were synaesthesia, including a mixture of wild nature and urbanity, of everything. Now I won’t go back to this mode of being by decision but to embrace the cultural scene worldwide. In architectural school, we were trained to see. It was an art school for me.
Could you walk us through a recent or upcoming project that embodies your interdisciplinary approach?
YW: Now I am leading a project that potentially will be turned into a social startup on marine animality’s intelligence as the plural modality that we seek and how it should be embedded in natural conservation advocacy across NGOs and governmental commissions. It will be shown in the 2025 March International Forum at Ircam, Centre Pompidou. The combination of biosphere intelligence and artificial one interests me. I sort of regret that I didn’t go to the AI program but I will pursue this topic as the philosophy of technology rather than pragmaticism or neuroscience-washing schemes. I was inspired by the think tank Antikythera a lot but also everything else when I was exploring it. The thing is when you start to open one field, the peripheral ones open for you, too. I am afraid of obsession with only names lacking depth and criticality.
Given your international experiences, how do you adapt your practice to different cultural and geopolitical contexts?
YW: It’s still a question to me. But people around me seem more confused than myself. I feel displaced as a migrant from an early age. Being somewhere, anywhere, at a friend’s house, a short program is a blessing for me. Grounding myself is such a lesson for me, too. I assign myself intellectual tasks such as finding roots in reading based on topics such as art criticism of the Renaissance (maybe that’s why I love libraries), focusing on creations, or enjoying quality moments with people I share love with no matter how temporary. Usually, my life is focused on tackling institutional hierarchy and injustice because it’s anywhere regardless of region but in various forms.
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