This year marks the 100th anniversary of the birth of Joseph Beuys. The "Global Tracing Flash Mob", co-curated by Hunan Wanglai Culture & Media Co Ltd and the artist Ni Weihua, kicked off in Guangzhou, Shanghai, Tianjin, Shenzhen, Beijing, Hangzhou, Suzhou, Zhuhai, Toronto, Los Angeles, London, Berlin, Kiev, Tasmania, and La Plata in tandem. Not only is "Tracing Beuys" a tribute to this great artist, but it is a continuation of his legacy of challenging the art system, thinking outside the box, and putting the environment and society under the spotlight. I hold there must be of significance for the organizers to present the commemorations together with Ni Weihua's tracing art scene. Ni along with his tracing art - "socially empowering creation", in which the audience is the main contributor rather than the artist, has a "socially empowering power" comparable to the "everyone is an artist" advocated by Beuys. Beuys's intention is that art can reach out to the society, can shape it, and can even transform it, becoming a driving force and an evolutionary force for society. The open community empowerment creation of "Tracing" in the urban ruined space frees art from the first person of the artist and makes the audience become anonymous "big others", including artists, various professional participants, and people from all walks of life with zero painting foundation They gathered in an open space with almost zero cost, thinking together about the future and opportunities of art.

A far cry from Beuys's works, with a focus on the metaphorical and discursive nature of life consciousness, the "Tracing" is POP and anti-metaphorical, pointing to a biosemiotic and anti-discursive mode of visual shock. It allows all participants in the scene to restore and reinterpret the inherent traces of the wall like a dumb camera, without the need for cultural identity or position. The "Tracing", from the perspective of signology, is not simply an abstractionist "trace creation" but a "trace following". Against the backdrop of anti-witchcraft and anti-religious Zen, the "trace following" is exactly what the Vajra Sutra says: "To be mindful of nothing" (One should have no attachment to worldly material things in order to have a deep understanding of the Buddha), and the participants release their rationality and experience a kind of nihilism and hedonism from the meaning of life.

"No trace is left after the water is traced, and the "Tracing" becomes the second preservation in Montage style, which is seared in everyone's mind, yet the image technology ("human prosthesis"), as the third kind of preservation, files the whole process into "memory production" (Bernard Stiegler) and enters into dissemination," believed Ni Weihua. This global tracing serves as a methodological response and solution to Stiegler's "third preservation" (Technics and Time) in contemporary art.

According to Freud, there is not only a "life impulse" also a "death impulse" in the human libido. This impulse of death bears some resemblance to the earthy nature of man according to Stiegler, who believes that the "technological body" of the current world externalizes and controls the "biological body" of man. Man emerges from the earth and disappears in it, epitomizing that man, between disappearing and re-emerging in the earth, is born anew each time. This kind of death and rebirth in technology through human prostheses can be deemed as what Silvio Fanti calls "death-life impulse". From the perspective of micropsychanalyse, impulse is the object of impulse sought for the elimination of impulse. Of Ni Weihua's works, the participants experience in the ruined space is exactly what Fanti calls "life-death impulse", and the "impulse forms" of the tracing are about destruction, excess, and intervention.

Death is the natural ability of the organism to reduce tension to a minimum. The death impulse is about the organism's repeated destruction, simplification - the instinctive impulse to return the physical body, to integrate it into the earth, into non-cellular tissues and the mineralized mother of the universe. This impulse is a more essential source of the universe than the Freudian claim of the sexual instinct, referring directly to the nature of the vide.

The "Tracing" finds the threshold between natural and cultural objects in the form of "turning the human body directly into a camera".

There are two ways to detonate the energy of the vide: First, the repetition of the self; Second, the repetition of the selfless.

The "repetition of the self" denotes the repetition of the same mental imagery, such as the practice of Qiu Chuji in the Yuan dynasty, who tied and untied his shoelaces for three months. "The repetition of the selfless" is not simply the repetition of different mental imagery but the only repetition of itself in the highest state, meaning that the dam of the "imagery" energy has reached a threshold, and the tracing art has come to the "water tracing" stage. At this stage, the self-replicating function of the "imagery" (the natural 'assimilation' of 'I') comes forth because of the change in the logical deduction of the medium.

In the self-reproduction stage of "imagery", there is no artist, no author at all, only audience.