Pyramids and Parabolas II is the second instalment of an infinite film series Wang began in 2017, which explores our relationship to the natural world by examining how we communicate with the unknown universe through geometric structures.

The idea of an infinite film series allows each episode to take on a looseness and autonomy in order to experiment freely with the serial form. From collage, to essayist, to abstract, each installment of the series assumes a different genre, which can be independent of the others — while at the same time, the episodes all-together form a total work of art with a common theme and interconnected narrative threads. As the series unfolds, Pyramids and Parabolas will shape shift and take on a life of its own. New ideas and formal experiments may emerge from the openness of the film form that is not predetermined.

The first episode established the groundwork for the dialectic between the pyramidal structure of ancient monolithic architecture and the parabolic shape of modern radio telescopes. Featuring found dash-cam footage of the apocalyptic fireball that came crashing down from outer space into Chelyabinsk, Russia, Pyramids and Parabolas started with a bang that signaled our precarity in the cosmos as a vulnerable planet amidst powerful natural forces. Our relationship to nature is not just what is on Earth; we live in a nature that is largely inhospitable to humans and other living organisms.

Calling attention to the body in order to foreground the experiential aspects of the film, the second episode of Pyramids and Parabolas begins with a three-minute body scan meditation in the dark. Followed by a quote from The Three-Body Problem, “Three days from now, between three and five in the morning, the entire universe will flicker for you” — which acts almost like a spell, the film is a travelogue of the artist journeying through surreal and sublime landscapes in nature. Bookended by the building of a NASA JOVE radio telescope in Twentynine Palms, California, the collage film is the artist’s quest to touch the cosmos and connect with the universe through flesh.

《角锥体与抛物线II》是王凝慧自2017年起开始创作的系列影片的第二部分，调查人们如果通过几何结构与未知的宇宙产生联结，从而探索我们与自然的关系。

该系列没有预设的终章，可被称为无尽系列影片，因此每个篇章允许一定程度的松散和独立，艺术家也得以自由地探索系列影片这一形式。从拼贴电影到散文电影和抽象电影，每部影片有各自不同的体裁且相互独立。同时，所有影片的集合形成一个完整的作品，有着共同的母题，叙事线索相互串联。随着系列的持续创作和发展，《角锥体与抛物线》不断变化生长，影片的开放性或将滋养预料之外的新鲜想法和形式上的实验。

系列的第一篇章为古老建筑的角锥形结构与现代射电望远镜的抛物线形态之间的辩证关系打下了基石。影片中包含艺术家获得的现成的行车记录仪拍摄画面，记录了火球冲向俄罗斯车里雅宾斯克的末日景象。影片开头的大爆炸象征着我们在宇宙中的不稳定性，我们身处于强大的自然力量中一个脆弱的星球。我们与自然的关系不局限于地球，我们所身处的自然的绝大部分领域对于人类和其他生命体而言是不适宜生存的。

《角锥体与抛物线》的第二部影片开头是一段三分钟的身体扫描冥想，引导观者在黑暗中将注意力转移到身体，为观影的体验做好准备。随后屏幕上出现《三体》中的一句引言："三天后……凌晨一点到五点之间，整个宇宙将为你闪动"，仿佛一句咒语。影片是艺术家的旅行记录，记载了她所踏足的超现实而壮丽的自然风景。其中多次出现艺术家在加州二十九棕榈村搭建NASA（美国国家航空航天局）JOVE项目的射电望远镜的片段。这部拼贴电影记录了艺术家身体力行地通过肉身触及和联结宇宙的征途。