This article includes an excerpt of the artist’s statement that opens the English version of a new book project, “Mirrored Resonance: Interlanguage Art, Poetics, Technology,” a multifaceted project involving linguistics (phonology), poetics, macroeconomics, and cultural theory as embodied by visual arts and poetry on the one hand and applied linguistics (of dictionary, textbook, transcription system, teaching methodology, and mobile digital technologies) on the other hand. As an artist statement, the following excerpt follows in the structure of personal disclosure, not an article in the mode of scholarly inquiry. The aim of this essay and the artist statement more generally is to reveal the thinking behind the art works, and my hope that they unhinge the Chinese and English imaginaries from their constitutive otherness by interweaving them not only in the present but also revealing an imagined correspondence spanning one thousand- years. Beginning with the Chinese-English interlanguages of the Tang and Song Dynasties, the work seeks to dislodge the perceptual anchoring of difference by examining a succession of Chinese-English interlanguages evolving over time in relation to the shifting exogenous variables of different epochs and epistemes, until we encounter the Chinese-English interlanguage in our own time.