The exhibition starts with Chuan-Lun WU's work "Angle-Fortune"; the work uses 3D scanning and paper sculpture to reproduce the common religious stone towers in Korea. It's said that the higher and the longer a tower stands, the higher chance a wish can come true by. With mathematical algorism the artist calculates the angles of beliefs and desires, and echoes the exhibition theme of rationally rethinking religions. NING Sen's work "N1801" attempts to explore the near-death experience with virtual reality (VR). Different from the conventional way, the artist does not give participants exact images but requires them to close their eyes, creating the near-death experience with sole light, sound and somatosensory effects. He-Ling LO's "Digital Buddha" deals with subjects such as reality, virtuality, and representation in an intelligible way. The Buddha's form that is distorted in real life is reconstructed in the virtual digital world. The work brilliantly interprets the Buddhist concepts of emptiness and the Twelve Sacred Principles of Karma.

Technology is not only a method of understanding and reproducing mystic experience, but also a means of exploring the social functions/needs behind religions. Jui-lan YAO's work "印予召淮" uses the "shen-ma" (神禡) and the "seal" culture of Han ethnicity as elements, trying to reveal the mysticism nature of various bio-political ideologies in the modern state. Ting-Yu LIANG's "斷頭河計畫" uses Taiwanese folk religion, tribal beliefs, and animist communication as methods to conduct ethnic and historical studies which have been developed in the modern scientific practice from the West. It presents not only conflict but also integration between primitive mysticism and modern science. "綠水青山金山銀山" is an open ideographic (semi-linguistic) system developed by Sheryl CHANG in her research and artist residency journey in Naxi, Yunnan, China. Her work integrates her experience of working with local shamans and her long-term research/interaction with plants, medicinal materials, traditional Chinese medicine, human body, nature and society. Language has always been the symbolic embodiment of the world, universe, and values/ideologies ​​of its users and groups; Sheryl's work reflects on the current mainstream ideologies and replaces it with another form of imagination of life that centers on nature and plants. Jia-Jhen SYU's "I collect a piece of you / you collect a piece of me" makes her private online diary into a fortune-teller card, becoming another ideographic technique that can explore one's psyche and even reveal the development of personal relationships. If the newly invented ideographic system can communicate and inform as much as ancient fortune-teller techniques such as tarot cards, sign poems, and the Book of Changes, this work touches the core of transmission across multiple dimensions. Tzu-Tong LEE's "#Ghostkeepers" uses modern social network as digital witchcraft to summon victims who died and were forgotten due to political violence in the past. The artwork not only shows the lasting religious needs of human society for exposing injustices since ancient times, but also proposes an alternative way for responding to this demand with modern technology.