Digital computers operate on the simple principle of manipulating on and off signals to perform logic functions. Over time, various methods have been used to generate these signals, including mechanical devices, electromagnetic relays, vacuum tubes, transistors, and integrated circuits. In September 1960, Isy Haas and Lionel Kattner introduced the first production version of the Micrologic "F" element flip-flop planar IC. The advent of integrated circuits replaced transistors, significantly reducing the size of computers and marking an evolution that brought about dramatic improvements in speed, cost efficiency, and everyday usage.

Logic Circuit (2022) is a painting that captures this pivotal moment of technological breakthrough, paying tribute to a key milestone in the history of innovation. The composition centers around a circular form, with precise internal lines depicting the etched channels on the back of a silicon wafer, filled with non-conductive epoxy resin. The tension between order and irregularity enhances the visual appeal, creating an engaging experience. Through Logic Circuit, Tan Mu blends technological aesthetics with artistic expression, exploring the transformation of materials and technology, and their connection to humanity's progress.

Q: How does the physicality of precise lines and silicon wafer etching influence your representation of these materials in the artwork?

Tan Mu: I am deeply interested in the relationship between art and technology as it is embodied in these materials. Silicon chips are the foundation of logical circuits, enabling the on and off switching that drives computation. In my painting, I am not simply documenting technological or material milestones. I am drawn to the strong visual and structural parallels between these components and the internal architecture of the human brain.

In works such as MRI and Synapse, I explore how neurons connect through synaptic structures, transmitting signals in ways that closely resemble how chips process information through switches. When silicon wafers age or erode, their softened edges, discolorations, and surface irregularities begin to resemble organic forms. These qualities recall anatomical imagery of neural tissue, blurring the boundary between the mechanical and the biological. Through painting, I emphasize this shared logic, revealing how both biological and technological systems rely on similar patterns of connection, transmission, and memory.

Q: The transformation of technology from large machines to compact components has reshaped daily life. How has this evolution influenced the way we interact with technology?

Tan Mu: This transformation is not only about miniaturization, but about the exponential expansion of computational power. As technology becomes more compact, its influence becomes more pervasive. These advancements accelerate human capability, allowing us to process information faster and act with greater efficiency and reach.

The structure of this evolution mirrors the human brain. Neural networks transmit signals through layered synapses, while contemporary technology relies on data centers, fiber optic networks, and logic circuits to process and distribute information. As these systems grow more powerful, our interaction with technology becomes increasingly intimate and seamless. The digital and the biological begin to reflect one another, forming a continuous feedback loop that reshapes how we think, communicate, and remember.

Q: What is the symbolic meaning of the circular form in your painting? Does it represent technological logic or something broader?

Tan Mu: The circular structure functions as both a symbolic and structural element in my work. It represents connection, continuity, and the flow of information across systems. Visually, it echoes the form of the brain while conceptually operating like a synaptic network, switching and transmitting signals.

I am particularly drawn to circular and topological forms because they resonate with both scientific and philosophical ideas. In Eastern thought, circularity reflects cycles of energy and renewal. In physics and mathematics, it represents fundamental patterns of flow and equilibrium. Through these forms, I sense something eternal and infinite in nature.

This nature based aesthetic is also embedded in technological objects themselves. Neural networks, logic circuits, and data systems all mirror these patterns of circulation and balance. By bringing these forms into painting, I aim to bridge the tangible and the intangible, the material and the cognitive, revealing a deeper continuity between human consciousness and technological evolution.