The phrase “pound of flesh” originates from Shakespeare’s play “The Merchant of Venice,” where a ruthless creditor demands a literal pound of flesh to be cut from the body of his debtor as collateral for a loan. Mayer’s work Pound of Flesh delves into themes of immateriality and animation through holographic displays, imbuing them with a pulsating emotional drive, as if virtual life has acquired its own affective agency and pattern. A pulsating medical heart model, designed to burst into pieces, serves as a powerful visual manifestation. Within this context, the intersection of technology and human bodily experiences emerges as a critical area of exploration, challenging and redefining our understanding of life, agency, and emotion.