“It’s already happened” / Germany
Title of show
"Licht, Luft, Scheiße - Archäologien der Nachhaltigkeit"
ZE Botanischer Garten & Botanisches Museum
Title of our installation
“It’s already happened”
New Territories _S/he with Mika Tamori
& Štěpán Krahulec, Max Unterfrauner, Helvijs Savickis
Botanic Museum room 7
Where
ZE Botanischer Garten & Botanisches Museum
BerlinKönigin-Luise-Str. 6-814195 Berlin
Germany
When
from 15 August 2019, opening to 27 October 2019 at the Bo-tanical Museum Berlin.
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Facing the lure of romantic ecology, which was the best companion of the
twentieth century’s most barbaric regimes. Lenin and Goering were highly
concerned with animal rights and nature… as expressed by a multitude of
laws.
Facing the hoax of industrial ecology, where greenwashing (from the Tesla
battery to any photovoltaic device / Cobalt and silicon are not harvested;
they are produced through the fossil energy chain) appears as the ultimate
performative and cynical discourse for post-capitalism to sell illusive
moralism and “save Willy” gadgets (what beautiful incestuous lovers).
Facing a political and intellectual high drama in which skeptical
environmentalist lobbyists, obscene liars, opportunistic evangelists and
many others… spread their influence through the complicity of
newspapers, journalists and other media in the hands of the billionaires.
Facing the scientists of the IPCC (Intergovernmental Panel on Climate
Change) who were misjudged or ridiculed as Cassandras 20 years ago,
with the aim of metabolizing or ignore their warnings… to the situation
here and know where they appear to be logically tumbling into
catastrophism… into a “too late – run for your life” resignation / Any
deep, extreme, virtuous transformation (degrowth) of our consumerist
symptoms will de-impact the decay of Gaia for the kids of Greta Thunberg
for at least the next two generations! Tell the dinosaurs, before their
global extinction, that they need to sacrifice to save a hypothetical next
two generations…
Facing the revenge of nature (Katrina, El Niño, the cyclones Jeanne,
Tomas and Nargis, the Xynthia storm, the Ewiniar typhoon, the
Indonesian and Japanese earthquakes, collateral tsunamis all the way to
Fukushima…) in a mutiny against the organization of man-power, in a
faltering of the original chaos…
Facing the newspeak propaganda about deep learning and the post-
human, which fantasizes and entertains global lobotomization to hide and
mask the major program of alienation, domination and the concentration
of profit, resources, data, material and immaterial… underway since the
nineteenth century…
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Few people decided to renegotiate rituals, ceremonies, vitalism and the
mechanization of life and technologies / to reformulate an intricate
ethico-aesthetic paradigm in which philosophy, physiology, sexuality,
subjectivities and sciences are intertwined. This specific zeitgeist
definitively altered the rules of the means and meaning, the forbidden
and the “authorized.” Humans were assumed to be vulnerable, traversed
by emotion, illogic, passion, fear, jealousy, madness… trapped in their
mind by multitudinous procrastination. The defeat of the human (as
master of ceremony, deus ex machina), and the introvert suppression of
its missing act, are the first ecological articles of their weak constitution.
Don’t misunderstand this. They are not regressive or backward-looking,
trapped in a complacent Romanticism. They use emerging logic and
technologies as apparatuses of knowledge and, simultaneously, a process
of fabrication, assuming (un)certainties, (in)determinism, disruptive logic
and heuristic feedback as agents of attitudes and form, where lines of
subjectivities are triggering realities and strategies of escape, where
biology, technology, robotics and anthropology are in symbiosis… where
all the fictions consubstantial to the Industrial Revolution (which are still
the rules of effectiveness and performance in the post-capitalist age) are
destabilized, corrupted, dismembered…. all the fictions and forms of
violence that organized madness of our situation, the fictions and
violence of masculinity, power, progress, mystical science, individualism,
performance, libido… and democracy.
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The ‘’It’s already happened’’ spot will make visible… confused altered
states through 10-15 psycho case studies in a “Curiosity Cabinet”
environment installed at the Botanical Museum. This environment will
include prototypes, video, computer and robotic processes to create a
synesthesia between narration, technology, anthropology and artificial
organic matter. This “Curiosity Cabinet” will report by means of these
display-processes relating to bottom-up self-organization, heuristical and
disruptive logic, human misapprehension, and questioning [corrupting]
the idealizing hygienist propaganda and futuristic agenda of cutting-edge
technologies.
.
Drifting realism_F[r]ICTION
… psychotic bachelor machines, psychotic apparatuses and fragments…
bodies in verse, bodies-becoming… a plausible simultaneous encounter of
situations, stories and their symptoms. The “forbidden” is reintroduced as
a possible, and that which was rejected or considered an improper
ingredient is coming back, like Georges Bataille’s substances… in a
repulsive “curiouser and curiouser” affinity, in pursuit of Ulrich Beck’s
concept of risk society....
Each scenario is a condition of solitude in relation to a “symptomatic
symptom” structure where fragmentation is the very raison d’être of
his/her emotions: a monster-boy endomorph constantly overfed,
protected in a claustrophilic antidote-jacket from the love excess of his
incestuous mother (“beau)strosity”); a feral child, innocent, naïve and
obscene, in a deep jungle, observed by scientism and voyeurism (“The
Offspring”); the “difference and repetition” of an affective alienation that
has become caged food in pursuit of Gilles Deleuze (‘’Σdays’’); a post-
culture spasm… in a mud-dirt turd where substances (human psyche and
discharges) meet in their states of chemical transformation
(“concrete(i)land”), a real episode of a “Mister Thank You’’ life, a man
who died in the street two years ago. He was trapped in a stuttering
Tourette Syndrome borborygmus, forced to face the cruelty of BKK kids
(“emet”), but also (“what could happen?”) as a prologue to a story about
euthanasia in Switzerland where teenagers use winter to bring on
hypothermia, but also the last seminal spurts of a Thai ladyboy computed
through a robot for a “psycho-cartography’’ choreography that dismisses
the position of the artist with post-human substances and the delegation
of authorship (the artist Mika Tamori)… until (“e_Sc[h]atology’’) scientific
research develops a perpetual loop between what we digest, shit, recycle,
cook, swallow… assuming that some parts have a repulsiveness that must
be negotiated individually. In our Anthropocene period… here we can’t fail
to mention the (“mind(e)scape”) currently existing in Japan, where
citizens can scream, insult, rumble, vomit up their frustration in the middle
of a public space, exulting, exposing and exorcising their demons,
protesting… but in a voice transfixed in real time to appear to be nothing
but incomprehensible lamentation… a kind of Kafkaesque Bachelor
Machine….
…including (‘’Coitus interruptus’’), with a castration scenario as an
inverted mode of the Lacanian fragmentation mirror: …a man and an
object, a man-object, a knickknack on the mantelpiece… with all of his
parts scattered around him: flesh, feet, penis, libido dismembered… as an
inversion of the mirror stage, losing his unity, subversion of the masculine
subject, will trapped in the amnesia of desire… in a situation of re-
arrangement, re-assembling… beyond frustration… infinite possibilities of
castration… caressing his Eros-Tanatos… condition. Educated as a
predator by routine Western machismo… he is in a position to surrender,
abandoning his arrogance… shifting its representation… thanks to the
transaction with the ladyboy he abused a few years ago… to help him face
his affective and sexual despair, as a casual pathology… he initially came
to Bangkok to re-acquire a “legitimate” compensation for what he had
lost, or more precisely, what he never met, in his mishmash of pre-
pubescent romantic delusions… until … now… surrounded by his petrified
semen… to negotiate a subjective emasculation, escaping from a previous
vain agenda, from drive and suppression… to reach the un-raped grail…
questioning, as a white male, the contours of his identity....
The architectural outcome emerged as a net-like “glitch” structure. An
artifact or result of the slippage between three agents, human, robot and
materials. There is no linear top-down relationship of human as
designer/robot as servant extruding inert material. The qualities of the
glitch structure are folded into and from a narrative to become an actant,
the shelter prop in the production of the associated report (film)….
The inaccurate nature of the extrusion is further exaggerated as the
structure continues to grow, resulting in an inconsistent cage “wall” lattice
like an emergent effect. A catenary is also in effect at the larger scale of
the overall structure’s formal language, making it inhabitable for the
film’s protagonist, shattering and dismembering his body as
representative of his consciously partitioned psyche.
The last scenario on 2018 (‘‘mind(e)scape’’) was learned from this
preliminary research by including the catatonic feedback of human
acoustics to corrupt the trajectory of the machine. As in many scenarios in
Bangkok, the fabrication of the “prop” is developed from non-linear
robotic processes, AI task algorithms to accept and act on the
misapprehension with a real sensor interface (RSI), using signals and
inputs, analogue and digital. In this process, inputs are collected through
UPD signals and the chain of Processing, Firefly, Grasshopper and
Rhinoceros, and re-injected (every 2m/s) into the functioning of the
machine, creating a permanent conditional position between “the point
where the machine was” and “the point where the machine should be” as
a vector of translation in an iterative de-positioning... AI in an imperfect
stuttering between the antagonistic mis-correspondence of several signals
and inputs… It introduces local and stochastic perturbations in real time as
the trajectory of the nozzle makes visible the conflict of analogue-digital
inputs from robot's own noises, machine clicks, inverse kinematics,
pneumatic piston... sequences of loops between what is supposed to drive
the movement and the movement itself… a mise-en-abime of order-
disorder-order… Agents corrupt the programmed, predictable work and
modify in real-time the path of the fabrication, a stuttering feedback
coming from the intrinsic protocol of its making, augmenting the intricate
meanders of the tool in an ever permanent inaccuracy of positioning,
introducing non-linear processes... as a way of territorializing
technologies, but on the condition that they be defined through
nondeterministic and loophole logic-illogic... to “de-expertize” the design
process through its opposite… the discovery of the potential of a
masochistic adaptation, in a strategy of contingencies and correlations…
of co-dependencies... with the making as artifact… not design but
process… no modelization, no scripting if-then-while for bio-mimicry but
uncertain input-output, artifacts... failure, collateral effects, bugs,
anomalies... are welcome… to develop environmental-architectural
psycho-scapes … psyche and environment, body and mind, and “Manias”
(mythomaniaS) that refer, etymologically, to an insane drive of
perception-projection…
…from scanning the urban surface in Okayama City to produce a (‘‘sys-
mic’’) scenario, using ground-penetrating radar to reveal the residue of
the Allied bombing during the Second World War, mainly using napalm,
and extract an architecture with underground data bubbling up onto the
surface… a scenario against amnesia... with postdigital computer robotics
as a fold of time, past-present-future, a sharing process…