《The World of Michuhol》 is a single-channel work that expands Michuhol, which appeared in the 2025 work 《Shininho from Michuhol》 as the place from which Shininho originated, into a maritime world with its own history, ecology, city, and inhabitants. Michuhol is the earliest documented name for the area of Incheon where the artist was born, appearing in the legend of Biryu in the *Samguk Sagi* (*History of the Three Kingdoms*). According to the record, Prince Biryu establishes a capital by the sea but is unable to settle on the damp, salty land. After his death, his people join Wirye, bringing Michuhol’s independent lineage to an end. In Yaloo’s rewriting of Michuhol, however, the people do not leave but remain until they all die. Following the death of the last inhabitant, the time of the dead flows into the village. Just as the artist’s grandmother, who lived outside the realm of online records, acquires a new body named “Shininho” through scanning, a place closed off by historical record is given a time that extends beyond its recorded ending.

In this Michuhol, begun again, different eras coexist within the landscape, living organisms, and structures of the city. Beneath a red sky, wet tidal flats and salt crystals form the skin of the ground, while warehouses, railways, and container ports once used to store and transport material goods become intertwined on the same stratum with cables and servers that store and transmit information. Traces of different times also grow together within the bodies of the living beings that populate the city. Lines, surfaces, and signs of different origins converge within a single body as skeleton, skin, and ornament, while forms shift in scale and function, moving between organism, machine, and architecture. Movements carrying the resistance of water and the weight of the body create the sensation that these beings have inhabited this place for a long time. On an old CRT television positioned between scenes, signals from different periods arrive; forms and stories that disappeared in earlier scenes are received again in altered forms within the present landscape.

In this world, workers commute each day to the Siren Server, where the memories and souls of people are stored and managed as data. In the final scene, Shininho suddenly appears outside the window of an underwater train on the workers’ repetitive commute. A gaze fixed on a smartphone escapes toward the window, and other workers raise their heads, following that gaze. Through this brief encounter, Michuhol—the place from which Shininho originated—expands throughout the exhibition space into a temporal and environmental condition in which her body, appearing at different scales and through different media, can coexist with the language of the Siren Server.