2019 |文本，装置，三通道3D数字模拟动画|尺寸：6m×5m×3.2m | 图片来源：横滨黄金町Bazaar现场

该系列作品是关于计算机故障的研究，并持续进行中。与部分临海民族的创世传说一样，某些数字生命的诞生之地同是一片蓝色海洋。曹澍作品中这些白色的造物雕塑源自他在日本驻地创作过程中 3D 建模工程文件出错所产生的“废料”，且一经生成便无法撤销。当机器停止运转，蓝色的海水淹没了屏幕之后，一段出错的记忆（memory bug），一串冗余的代码便获得了实体。与其说这是一次道成肉身（incarnation），不如说它是一种日语意义上的“受肉”：被遗忘的幽灵获得了新的身体，实现其重返人间的野心。但与此同时，它在诞生的瞬间就死亡了。从一个唯有从内心可被感知到的、活生生的情感和体验，变成了一个惰性的和物质的肉体，成为了一个物，和世界上所有其他物没有什么区别。

2019 | Text, Installation, 3D Digital Simulation, Powder Sintered 3D Printing | Variable Dimensions | Image Source: Koganecho Bazaar, Yokohama

During the animation process, many 3D characters accidentally developed shape-distorting bugs. The artist preserved these error states filled with bugs, printed the characters, and placed them on a blue backdrop. The backdrop features the blue screen text typically displayed when a computer encounters issues, representing a "wrong window," a prompt from the Windows operating system. The term "memory" in computing parallels human memory. The blue screen of death can be seen as a metaphor for human memory's intermittent rest. The continually bugged animation characters repetitively recite the Japanese text from the blue screen error message. The twitching, distorted crocodile, freed from its fate as an animated character, symbolizes the ritual of digital life achieving enlightenment. This twisted form resembles a gravestone, witnessing the disappearance of an unknown and mysterious digital existence. The blue of the computer blue screen also reflects the blue screen used in the film industry, a technique that removes the background and displaces objects from their original context. This work was commissioned by Koganecho Bazaar in Yokohama.