srijeda, 19. travnja 2017.

Flann O'Brien - Treći policajac






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Moj tekst o jednom od najboljih romana svih vremena (objavljen u časopisu Tvrđa, 1-2/2015.)



Vjerojatno niste čuli za moiré-efekt, no to vam neće pomoći da umaknete njegovoj "vradžbini". Tehnički gledano, riječ je o novom vizualnom uzorku koji se pojavi kada se dva jednaka točkasta ili iscrtkana, obično prozirna, polja poslože jedan preko drugog, ali tako da se jedan malo zarotira spram drugog. Mnogo živopisniji primjer navodi Eyal Weizman, govoreći o forenzičkom istraživanju plinskih komora u Auschwitzu. Tijekom traganja za rupama na krovu građevine u kojoj se nalazila plinska komora, a kroz koje se puštao plin, forenzičarima je na raspolaganju bila samo jedna fotografija logora snimljena iz zrakoplova u ljeto 1944. Problem je nastao kada se ustanovilo da mrlje na uvećanoj fotografiji nisu rupe za kojima se tragalo, nego mrlje koje je stvorila sama fotografska emulzija. Takva mrlja, primjer moiré-efekta, nastaje kada je veličina osnovne čestice fotografske emulzije na negativu veća od onoga što prikazuje, kao što su u ovome slučaju, nakon najvećeg mogućeg uvećanja, emulzijska čestica bila veća od rupa na krovu fotografirane građevine.


U prenesenom značenju, koje nas ovdje zanima, primjer je to sveprisutne pojave kada u opisu neke stvari ne vidimo stvar, nego sam opis te stvari, ili fantomsku sliku koju je stvorio opis. Naglasak je na tome da tu mrlju zaista vidimo; nije riječ o tome da ne vidimo ništa, nego da vidimo sam opis, točnije, distorziju koju stvara sam čin opisivanja. Tako je gotovo uvijek kad zamišljamo ili istražujemo nešto krajnje sitno, nevidljivo, nezamislivo (zapravo bilo koju "konačnu" istinu) – ne događa se tada da jednostavno ne vidimo ništa, ili da o tome šutimo (kako je naivno predlagao Wittgenstein). Kada nemamo što vidjeti, gledamo vlastito gledanje; kad nemamo što reći, slušamo vlastiti govor. Kada se suočimo s nečime što nadilazi mišljenje, recimo život nakon smrti, nećemo vidjeti neko ništa, nego, kako ustrajno potvrđuju religijske tradicije, živopisne zamišljaje kojima sebi predočujemo onkraj. Treba još jednom naglasiti da su te predodžbe zapravo tvar, materija, jer medij je uvijek materijalan: naš opis nezamislivog nije neka prozirna "misao", nego materijalna tvar koja stoji između nas i onog nezamislivog. Logika koja, u nemoći da zahvati ono "sitnije", suptilnije od sebe, gleda samu sebe te postaje logička tvar, "mrlja" - paradoks, kontradikcija, zatvoreni krug, elastična logička petlja, apsurd, halucinacija, duhoviti skeč.


Povijest književnosti nije baš krcata djelima koja eksplicite tematiziraju paradoksalnost postojanja i zakrivljenu logiku u središtu razuma, no ipak mnoga djela iz nadrealističkog i postmodernističkog kanona uključuju neke elemente "zakrivljenosti" i ontološke poremećenosti. Najoriginalnije, a nedvojbeno najduhovitije djelo o zagrobnom životu same logike, tj. logike kao (sablasne) materije, roman je Treći policajac, Flanna O'Briena. Komična je to noćna mora, priča o tome kako izgleda biti mrtav kada ne znaš da si mrtav a zarobljen si u ateističkom paklu, u kojem se radnja beskonačno vrti u krug.


Treći policajac na ovim je prostorima otprije bio poznat u srpskom prijevodu, no povod našem prikazu novi je, sarajevski prijevod nakladnika Šahinpašić. Zbog tog srpskog prijevoda, Treći policajac ("onaj roman o ljudima koji postaju bicikli") u nekim je krugovima i kod nas stekao kultni status, pa je novi prijevod prigoda za novo veselje uz jedan od najzanimljivijih i najneobičnijih a po mnogima i najboljih romana 20. stoljeća. Za one kojima je Flan O'Brien nepoznat autor, napomenimo da je riječ o jednom od pseudonima irskog književnika Briana O'Nolana, rođenog 1911., koji je, osim što je napisao još četiri izvrsna romana (od kojih možemo istaknuti ur-postmodrnistički At Swim-Two-Birds i Dalkey Archive), za života bio slavan kao autor duhovitih, otrovnih novinskih kolumna koje je pak potpisivao kao Myles na gCopaleen.  Biografi ističu da je pisanje pod pseudonima za O'Nolana bila nužnost jer su ga njegova stajališta o crkvi i državi u katoličkoj Irskoj, koja nije skrivao u romanima i kolumnama, mogla stajati njegova stalnog zaposlenja u državnoj službi. Među suvremenim povjesničarima književnosti i kritičarima, premda možda ne i među čitateljima, uobičajilo se O'Briena, uz Becketta i Joycea, svrstavati u sveto trojstvo irske književnosti 20. stoljeća.


Trećeg policajca O'Brien je napisao odmah nakon što je objavio svoj prvijenac At Swim-Two-Birds, 1939., no njegov je izdavač procijenio da se autor previše zanio i odbio mu je rukopis. O'Brien je potom poslao rukopis književnim agentima u Americi no oni su ga, kako se pokazalo, uspjeli zagubiti. Razočaran, O'Brien je odustao od ovog projekta a da bi prikrio neuspjeh počeo je, posramljen, čak širiti krajnje bizarne priče  o tome kako je sam zagubio rukopis. Neke je dijelove i likove poslije uključio u roman Dalkey Archive, no za njegova je života Treći policajac ostao čitateljima nepoznat, a objavljen je tek postumno, 1967. godine. Lude šezdesete bile su plodno tlo za recepciju ovog čudnog romana koji su kritičari uspoređivali s Joyceom i opisivali kao „lakrdiju u kojoj se zločinac bori s lokalnom birokracijom“ te kao tajanstvenu, neuhvatljivu alegoriju o zamkama samog postojanja. Ljubiteljima slavne tv-serije Lost bit će zanimljivo da su autori serije isticali Trećeg policajca kao jedno od svojih glavnih nadahnuća.


Tko je onda "treći policajac" i koja je uloga bicikala u zagrobnom svijetu? Na početku romana glavni, neimenovan lik, opsjednut teorijama uvrnutog filozofa de Selbyja, popusti pred nagovorima prijatelja Johna Divneyja i zajedno s njim ubija i pljačka starog Phillipa Mathersa. Kada tri godine kasnije dođe u napuštenu Mathersovu kuću uzeti crnu kutiju s novcem, koju su toliko dugo skrivali kako bi prikrili tragove, u trenutku kada dodirne kutiju, osjeti čudan "fazni pomak". Pri kraju romana eksplicite ćemo saznati da je "kutija" zapravo bila bomba koju mu je podmetnuo Divney. Mi znamo što se dogodilo, no glavni lik ne, te on nastavlja živjeti ne znajući da je mrtav. U tom novom svijetu pokraj sebe odjednom vidi Mathersa, ne shvaćajući da je to njegova sablast. Nakon toga stvari postupno postaju još čudnije i nadrealnije, no glavni lik nije poput Kafkinih, koji se ne čude iščašenom svijetu oko sebe, nego je stalno zatečen, zbunjen i unezvjeren, potpuno smeten apsurdističkim „skečevima“ u kojima se zatječe. On pak ne zna kako se zove i općenito stalno puno toga zaboravlja, te samo želi pronaći svoju crnu kutiju. Ostatak romana zapravo je niz mađioničarskih trikova koje O'Brien izvodi na svome nesretnom junaku.


Cijelu priču pratimo iz junakova gledišta te otkrivamo kako stiže u zbunjujuću, logički nemoguću policijsku postaju koja "podsjeća na naslikan oglas na ploči" i doima se "lažno i neuvjerljivo", no kada se u nju uđe, trodimenzionalna je u uobičajenom smislu. Tu sreće dvojicu bizarnih, debelih policajaca kojima je glavni posao briga oko ukradenih bicikala, budući da su različiti problemi s biciklima u ovome svijetu zapravo jedini zamislivi događaji. Bicikli su neobična bića s kojima, nakon što ih neko vrijeme vozite, počinjete razmjenjivati atome pa s vremenom granica između bicikala i ljudi nestaje. Moguće je i da bicikl potpuno pređe u čovjeka, i obratno, pa je zabilježen slučaj da su, zbog nekog prekršaja, objesili bicikl a ne čovjeka, jer se taj čovjek potpuno preselio u svoj bicikl. Slijedeći tu logiku moguće je pretpostaviti da su svi likovi koje glavni junak sreće, uključujući policajce, zapravo bicikli, tj. da samo imaju ljudsku formu a u biti su stvari, naprave.


Otkrivamo i tajanstvenu podzemnu građevinu skrivenu u šumi čijim se liftom stiže u dvoranu u kojoj vrijeme ne prolazi i za koju policajci kaž uda je "vječnost". Tu možete stvoriti što god poželite, ali to ne možete iznijeti van (kritičari  utome vide hiperboličnu varijaciju motiva da glavnom liku njegovo obećano blago stalno izmiče). S vremenom otkrivamo da je tu građevinu stvorio i da njome iz daljine upravlja treći policajac, Fox, koji je svoju privatnu policijsku kancelariju smjestio u zid Mathersove kuće, zbog, kako kaže, uštede u najamnini, te povrh toga, ima i Mathersovo lice. Fox će objaviti da je našao crnu kutiju koju glavni lik cijelo vrijeme želi pronaći te mu otkriva da se u kutiji nalazi omnium, tvar s kojom se može stvoriti što god se poželi, izvor najveće moći, što je pak vjerojatno zrcalna verzija shvaćanja da je novac svemoćan  i da "novac pokreće svijet". Upravo je tim omiumom Fox stvorio podzemnu rajsku građevinu, kojom je zapravo htio tricksterski namagarčiti svoje kolege policajce.


Na početku policajci kažu glavnom liku da, zato što nema imena,   može činiti što ga je volja jer ga, kao bezimena, ne dodiruje ruka zakona, no kada ga poslije proizvoljno osude za zločin koji (barem u tom svijetu) nije počinio, ležerno mu nude fascinantno kvijetističko obrazloženje, koje sadržava i jednu od najdojmljivijih slika homo sacera, čovjeka koji je, neumitnom kafkijanskom logikom, učinjen toliko nepostojećim da ga ni smrt ne može priznati: "Točno je da ne možete počiniti zločin i da prava ruka zakona ne može staviti prst na vas bez obzira na stupanj vašeg zločina. Sve što radite je laž, ništa nije istina od toga što vam se događa. Samo zbog tog razloga možemo vas zadržati i vješanjem vam izvući život a da uopće ne budete obješeni i da se to ne navodi u umrlici. Ova osobita smrt kojom ćete umrijeti nije čak ni smrt, već samo jedna nehigijenska apstrakcija u stražnjem dvorištu."


Zaštitni znak Trećeg policajca ipak je filozof de Selby, čijom je filozofijom glavni lik opsjednut, pa i zločin počinja kako bi si priuštio egzistencijske uvjete za pisanje knjige o njemu. Razmišljanja o de Selbyju nalazimo rasuta po cijelom romanu, a u bilješkama i komentare tuđih interpretacija i razglabanja o prijepornim mjestima de Selbyjevih metefizičkih ekstravagancija. De Selby primjerice tvrdi da je "putovanje halucinacija", da kretanje i protjecanje vremena ne postoje, da naš planet ima oblik kobasice a posebno je dojmljiva njegova tvrdnja da je noć "nezdravo stanje atmosfere uslijed nagomilavanja crnog zraka", učinak industrijskog zagađenja. Njegovu pankersko-stoičku filozofiju sažima ovaj citat: "Kako je ljudsko postojanje samo halucinacija koja u sebi sadrži dodatne halucinacije kao što su dan i noć..., pametnom čovjeku ne priliči biti zabrinut pred prividnim približavanjem krajnje halucinacije poznate kao smrt."


Premda ovdje ponajprije naglašavamo da Treći policajac nalikuje logičkoj mrlji, izvitoperenom obliku što ga stvara svijest kada gleda samu sebe, ili konkretnije, da je život nakon smrti zapravo suočavanje sa samim sobom, sablasna tvar koja nastaje kada se subjektivna svijest (u ovom slučaju nečista savjest ubojice koji stalno iščekuje kaznu) postavi preko sebe same i pritom samo malo (zbog činjenice smrti) zarotira, to ne znači da ta mrlja nije nimalo realistična. Zapravo je više nalik odrazu u izobličavajućem zrcalu. Mogli bismo pomisliti na paralelni svijet u Alici iza ogledala, primjerice, no još je primjerenija usporedba s Manetovom slikom Bar u Folies-Bergèreu, koja također uprizoruje jednu od varijacija moiré-efekta. Tu su, koristeći se pojmovnikom naše prispodobe, jedan preko drugog postavljeni stvaran prizor i njegov odraz u zrcalu. Stvaran lik je konobarica za šankom, odsutna i melankolična pogleda, no u zrcalu iza nje ne vidimo realističan odraz njezine okoline u slavnom pariškom varijeteu, nego distorziran prikaz, u kojem je sama konobarica drukčije nagnuta, doima se srdačnijom, raspored boca je drukčiji itd. Dakle, kada se stvarna i zrcalna slika stave jedna preko druge, ne vidimo poklapanje, nego distorziju. Na sličan se način u O'Brienovim logičkim mrljama mogu naći sličnosti sa stvarnim životom. Radnja Trećeg policajca može se čak tumačiti u psihološkom ključu, budući da se varijacije tema opsesivnosti, ubojstva, kazne, skrivanja i bijega nastavljaju i u životu nakon smrti. Glavni lik na početku puta čak sreće svog dvojnika, bešćutnog ubojicu, koji kao i on ima jednu drvenu nogu, a zove se Martin Finnucane. Možda je to i njegovo ime kojeg se svjesno ne uspijeva sjetiti, naročito s obzirom na to da će opaki Finnucane poslije također ubiti starog Mathersa, a policajci će krivnju proizvoljno pripisati glavnom liku – što će u toj situaciji izgledati apsurdno, premda, na dubljoj razini, ne i pogrešno.


Likovi Trećeg policajca jesu čudni ali nisu potpuno nevjerodostojni, mogu nas podsjetiti, kako primjerice ističe Charles Baxter, na ljude opsjednute svojim ludim teorijama koje svi stalno srećemo, pa ako ovaj roman govori o nečemu "stvarnom", možda govori o posljedicama opsesivna življenja, budući da su svi likovi u romanu opsesivni spram svojih filozofija, ambicija, poslova ili misija. "Pokažite mi opsesivca, i pokazat ću vam potencijalnog kriminalca", prema Baxterovu je mišljenju mogući motto romana. No u Trećem policajcu sve je distorzirano, pa su i naizgled "prave" teme istovremeno lažne teme koje vam izmiču iz ruku čim pomislite da ste ih "uhvatili". Baxter također ističe da čak i kad vam se učini da bi trojica policajaca mogli biti parodija katoličke dogme o svetom Trojstvu, shvatite da takva potraga za simbolima i tajnim "značenjima" više nalikuje beskonačnoj regresiji, kao što jedan od policajaca stvara kutije unutar kutija toliko sitne da postanu potpuno nevidljive i nastavljaju se u beskonačnost.


Kao na Manetovoj slici, kada jednu preko druge postavimo našu svijest i ono čega je ona svjesna, u O'Brienovu svijetu "slike" se također ne poklapaju. Sama naša svijest sprečava nas da budemo svjesni onoga što se događa, da shvatimo da smo primjerice mrtvi. Naša samosvijest, svijest da smo živo biće, postoji samo u zrcalu, no mi smo zapravo mrtvi. Svijest nam omogućuje i da vidimo i ne vidimo, točnije, da upravo onime što vidimo zastremo istinu, da onim što je vidljivo stvorimo nevidljivost, neprozirnost. Kao što paradigmatski ističe izniman autor horror-priča Thomas Ligotti, svijest, čim se javi, samu sebe poništava i zavarava, stvara iluzije koje će je zaštiti od suočavanja s (prestrašnom) istinom. Svijest ne samo da nije pouzdano zrcalo svijeta, nego upravo obratno, sama svijest je moiré-efekt, sablasna tvar. Upravo nam logika svojom materijom onemogućuje da otkrijemo logiku svijeta.


 

ponedjeljak, 3. travnja 2017.

Lawrence Lek - Sinofuturism: 'It isn’t a manifesto, it’s a conspiracy theory'

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Umjetna inteligencija je već tu. Zove se Kina.







lawrencelek.com/


"Sinofuturism is an invisible movement. A spectre already embedded into a trillion industrial products, a billion individuals, and a million veiled narratives. It is a movement, not based on individuals, but on multiple overlapping flows. Flows of populations, of products, and of processes. Because Sinofuturism has arisen without conscious intention or authorship, it is often mistaken for contemporary China. But it is not. It is a science fiction that already exists.
Sinofuturism is a video essay combining elements of science fiction, documentary melodrama, social realism, and Chinese cosmologies, in order to critique the present-day dilemmas of China and the people of its diaspora.
With reference to Afrofuturism and Gulf Futurism, Sinofuturism presents a critical and playful approach to subverting cultural clichés.
In Western media and Orientalist perceptions, China is exotic, strange, bizarre, kitsch, tacky, or cheap. In its domestic media, China portrayed as heroic, stable, historic, grand, and unified. Rather than counteract these skewed narratives, Sinofuturism proposes to push them much further.
By embracing seven key stereotypes of Chinese society (Computing, Copying, Gaming, Studying, Addiction, Labour and Gambling), it shows how China's technological development can be seen as a form of Artificial Intelligence."






Lawrence Lek: 'It isn’t a manifesto, it’s a conspiracy theory'


For anyone who’s spent a bit of time in 21st-century China, Sinofuturism, a one-hour video essay released last year by London-based artist Lawrence Lek, can feel like the opposite of culture shock. It triggers not the sudden bang of a new, alien experience, but the dull awareness of an underlying reality one’s been living in without being able to put into words. In its chaotic, dense and thoroughly bleak depiction of a post-human landscape dominated by a self-propagating AI, Sinofuturism gets much closer to the future-shock weirdness of today’s China than almost anything else currently on the art market – or in the sci-fi stacks, for that matter.

'It’s a mechanism for pattern recognition' says Lek, who himself has recognised these patterns from afar. Born in Frankfurt, Lek moved frequently as a child, following his parents’ jobs at Singapore Airlines. He spent his formative years in pre-handover Hong Kong – 'It was in the ’80s, skyscrapers were going up... when I think back on it now, it’s really that kind of Wong Kar-wai romanticised modernity' – and came of age in Singapore, later moving to London to study architecture. For the last five years he’s worked primarily as a visual artist, creating depopulated video animations depicting near-future scenarios in which architecture is inhabited, if at all, by art world ruins and flitting, autonomous drones. Sinofuturism – one of three pieces by Lek in the UCCA’s current group show, The New Normal – grew out of research he was doing on machine learning, artificial intelligence and inherently Chinese visions of the future. 'I basically realised [these] were all the same thing,' Lek says of his eureka moment.

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Capital-'F' Futurism typically refers to an Italian artistic movement spearheaded by the 1909 publication of poet Filippo Tommaso Marinetti’s Manifesto del Futurismo, a tome worshipping speed, industrial development, and the violent destruction of the past in the name of erecting a new phase of Western civilisation. At its best, the movement gave form and meaning to a rapidly changing era, closely influencing the aesthetic of 20th-century art, architecture, and music. At its most insidious, Italian Futurism, which praised the political expediency of fascism, presaged some of the worst horrors to come, clearing way for the rise of Mussolini and later being echoed in the brutal ideology of the Cultural Revolution.

More recently, several non-Western Futurisms have been proposed to reflect today’s post-colonial globe. The term 'Afrofuturism' gained currency in the early ’90s, and has been retroactively applied to the work of African-American sci-fi writers Samuel Delany and Octavia Butler, as well as to the avant-garde jazz luminary Sun Ra, who attached an interstellar, Afrocentric cosmology to his compositional process. 'Gulf Futurism' was coined in a 2007 essay by Qatari- American artist Sophia Al Maria to identify a distinct aesthetic and vision of future engendered by the prevailing economic interests of the post-oil-boom Persian Gulf.

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Shiva's Way

For Lek, Sinofuturism moved from a vague topic of interest to a concrete speculative idea after a conversation with Steve Goodman, better known as musician and Hyperdub label founder Kode9. Goodman is no stranger to this paradigm, having himself explored topics such as 'Afroatlantian rhythmic futurism' during his time as a philosophy student at the University of Warwick’s notorious Cybernetic Culture Research Unit. 'He’s been exploring this idea of non-Western futures for a very long time,' says Lek. 'So I asked him, why is it that there is no Sinofuturism? And then we were talking about how if the symbol of Afrofuturism is this super robot, or hyper-human, there’s no equivalent [for Sinofuturism]. That conversation really got me thinking, and I realised that actually, the robot is for Afrofuturism what the AI is for Sinofuturism.'

In the eponymous video, which is composed entirely of footage found online, a non-human narrator informs the viewer that Sinofuturism is 'a science fiction that already exists… a massively distributed neural network focused on copying rather than originality.' Lek identifies seven cliches about Chinese society – computing, copying, gaming, studying, addiction, labour and gambling – and uses them to argue for Sinofuturism as a self-interested artificial intelligence that employs deep-seated cultural qualities like Confucian filial piety and agrarian-industrial labour capacity to spread itself across the planet in a Darwinian conquest of ideas; it is an agent of meme warfare. Sinofuturism’s seven core components are visually reflected by media reports such as a BBC documentary on internet gaming addiction and paranoid rants on the dangers of globalism from the far-right talk show Infowars.

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Sinofuturism

In an opaque way, Sinofuturism manages to tie together many of the most salient and bewildering features of contemporary China into a grandiose narrative that’s so outlandish, it almost seems obviously true. In historical terms, Lek places the beginning of Sinofuturism in 1839, a date corresponding with the launch of the first Opium War. It ends in 2046, an explicit reference to Wong Kar-wai’s film of the same name and a tentative prognostication of some flashpoint of technological singularity that Lek expects we might reach within 30 years. 'Globally speaking, [this time period] is the peak of a certain kind of hard technology, like mechanisation, to industrialisation, to digitisation,' he explains. 'I think these 200 years, without being able to look into the future, are what will probably set the blueprint for a lot of things to come.'

The blueprint metaphor is apt: according to Sinofuturism, the 'things to come' will be more machine than man. Post-humanism is a theme that recurs through many of Lek’s works. Shiva’s Way, another video featured in The New Normal, tells the tale of a Buddhist nun who 'journeys to Korea to help rebuild the Seoul Museum of Art' after an apocalyptic civil war. Its figureless terrains literalise the uncanny condition of art – decontextualised Chinese landscape paintings; a half-submerged statue of Maitreya, the future Buddha – after the death of all human observers. One of his latest creations is The Nøtel, a collaboration with Kode9 that sets the latter’s 2015 album Nothing in a 3D-rendered hotel that hosts no human guests. Lek and Kode9 will bring The Nøtel to Beijing in May as part of the Wetware music festival – keep an eye on the Time Out Beijing website for event details.

Sinofuturism (1839-2046 AD)_Screenshot_02_1920x1080
Sinofuturism

Lek is careful to point out that Sinofuturism is not a call to action, nor an instruction manual. 'It isn’t a manifesto, it’s a conspiracy theory,' he says. Referencing Marxist theorist Fredric Jameson, Lek explains that 'the reason conspiracy theories are so popular is that they give people a way to understand the world. Our cognitive map of the world is too impossibly complex right now. So the thinking is that reality is like a branching tree, and if we go back to the very root of it, we can solve things. This isn’t true, of course, because the problem is never that simple. But the conspiracy theory is like a map to help us understand the world. So Sinofuturism is not a manifesto for the future, it’s more like a conspiracy theory to understand the present and maybe parts of the past, and maybe parts of the future as well, through these patterns.'

Nevertheless, like the Italian Futurist manifesto, Sinofuturism can be seen as intellectual preparation for difficult transitions ahead. One irony deeply embedded in the video is Lek’s awareness of the potential for AI to usurp even his own line of work. 'In the same way that the Government might subsidise the coal industry, they’ll have to subsidise the knowledge industry,' Lek says of a near future where AI art trumps the work of humans. Lek envisions an 'anti-AI art law' that might come into being to safeguard the cultural value of human artistic output, if only in our own minds.

ShivasWayScreenshots12
Shiva's Way

While this argument can be applied to AI and culture generally, it has a special relevance in China, where critics often reject visual arts and music coming out of the country today as imitative copies of Western originals. Sinofuturism suggests that this cultural reaction is a desperate gambit of Enlightenment-Western thought in defense of its own conception of the ego, its own Futurist fetishisation of the new. Sinofuturism puts no stock in originality, only useful copies. 'Because the physical components of high technology are literally made in China,' its robot narrator intones early on, 'it makes no sense to produce visions of the future. It’s already here.' -   www.timeoutbeijing.com/features/Art/157605/Lawrence-Lek-It-isnt-a-manifesto-its-a-conspiracy-theory.HTML




Geomancer
Geomancer is a CGI film by Lawrence Lek about the creative awakening of artificial intelligence. On the eve of Singapore’s 2065 Centennial, an adolescent satellite AI escapes its imminent demise by coming down to Earth, hoping to fulfil its dream of becoming the first AI artist. Faced with a world that limits its freedom, Geomancer must come to terms with its militarised origins, a search that begins with a mysterious syndicate known as the Sinofuturists…
As the geopolitical axis tilts further to the East, and as once-dominant technological models are cast into doubt, Geomancer alights on a longstanding tension between the place of the human and the role of the machine, sharpened by contemporary hopes and anxieties around the rise of East Asia, and by speculations that new forms of artificial intelligence, already outperforming mere mortals in matters of automation, will challenge us in more creative skills as well.
Featuring video game animation, a neural network-generated dream sequence, and a synthesised vocal soundtrack, Geomancer explores the aesthetics of post-human consciousness.
Jerwood/FVU Awards 2017 - ‘Neither One Thing Or Another’
22nd March - 14 May at Jerwood Space, London SE1 0LN. 
Mon-Fri 10am-5pm; Sat-Sun 10am-3pm
FULL PRESS RELEASE: fvu.co.uk/projects/geomancer









http://lawrencelek.com/geomancer

















Nøtel (with Kode9)
Immaterial architecture & live performance, 2015 - ongoing x Hyperdub
Performances at Unsound Adelaide / Mapping Geneva / Mira Berlin / Sonar

“Virtual worlds and video gaming are an emerging medium for marketing luxury. In line with the goals of fully-automated luxury communism (100% leisure, 0% work), the CEO of Nøtel corporation has commissioned us to create a promotional video game for their flagship brand. A fully-automated, evacuated, luxury hotel: an open world where nothing happens.
The project guides the audience on a first-person tour through the uncanny architecture of the Nøtel. In sprawling chambers deep within slick glass corridors, they encounter warped spaces, quantum clouds, gravitational pools, dancing voids and holograms of the dead.“





Geomancer (Jerwood/FVU 2017)Sinofuturism (1839 - 2046 AD)QE3Berlin Mirror (2042 Retrospective)Nøtel (with Kode9)Bonus LevelsShiva's GrottoUnreal Estate (The Royal Academy is Yours)Gravity's FollyDalston, Mon AmourSky LineMemory PalaceShiva's Dreaming  •  Delirious New Wick







petak, 10. veljače 2017.

Minus sapiens









Objavljen je moj novi roman, Minus sapiens: ovdje.
Nabaviti ga možete ovdje.
Trejleri i naslovnice Dalibora Barića:


video
video







Što se događa kada upadneš u crnu rupu, ili kada si i mrtav i živ, ili kada živiš u kompjutorskoj igri, ili si jednostavno otputovao u 16. stoljeće, da bi pratio Montaignea na njegovu putovanju Europom, ali ne zato što te zanima on, nego snimanje dokumentarca o vodi koju on na tom putu pije, iako i nije jasno pije li on vodu ili krv, je li on čovjek, vampir, ili špijun i plaćeni ubojica, premda postoji mogućnost da je sve to skretanje pozornosti s velike ljubavne priče koja presvođuje stoljeća, ili s grandiozne tajne urote europske povijesti i Holokausta koji je počeo prije 500 godina? Zašto je sve to povezano s pticama i ledom vremena u njihovim očima? Kako vas razni filmovi i sablasti Sebalda, Herzoga, R. F. Langleyja, J. A. Bakera i Brautigana mogu opsjedati u tolikoj mjeri da često oko sebe i ne vidite ništa drugo nego njihove distorzije? Tko su uopće glavni likovi, markiz de Gilgame i Kinski, a još važnije, tko je Alga Marghen? Anđeo ljubavi, anđeo osvete, ili ubojica iz noir-filmova?

Želite li znati odgovore na sva ta pitanja? Vjerojatno ne. Onda ste na pravom putu, ovaj će vas roman voditi kroz labirinte neznanja, ispisujući himnu našoj sreći što ništa ne znamo i što se svijet odvija sam od sebe, neovisno o onome što mi mislimo da znamo o njemu.
Premda se na prvi pogled tako čini, identiteti likova i sami događaji u romanu nisu jednostavno rasuti, razlomljeni i neodređeni, kao primjerice u post/modernističkim djelima. Naime, identiteti i znanje ovdje nikome i ne trebaju, budući da svijet uopće nije strukturiran poput jezika, nego poput mirisa, ili ambijenta. Svijet nije u rasulu, to je već prevladana tema starih vremena, nego se sada na drukčiji način stvara ono što je važno. Ne zavode nas stjecanje znanja, otkrivanje tajni i skrivenih značenja, nego "mirisi" događaja. Svoj svijet više ne spoznajemo (pa i nije važno "što" se točno dogodilo), nego ga "njušimo" (slijedimo njegov "miris", "ambijent"). No nije riječ ni o kakvoj utopiji jer je taj novi čovjek, kako se čini, istovremeno fašist i ekstremni individualist, ubojica i konceptualni umjetnik, pravi čovjek našeg doba – Minus sapiens.


RAZGOVOR I ULOMAK NA TREĆEM PROGRAMU HRVATSKOG RADIJA


utorak, 7. veljače 2017.

Kristin Hayter / Lingua Ignota - Burn Everything



architect&vapour5




kristinhayter.com/




Nasilje ne služi liječenju duše.











DISEASE OF MEN is number 13 in a 13-part song cycle loosely based on Igor Stravinsky’s SACRE DU PRINTEMPS. DISEASE OF MEN corresponds to Stravinsky’s SACRIFICIAL DANCE, in which The Chosen One dances to death ‘in the presence of the old wise men.’

all text is culled from BURN EVERYTHING TRUST NO ONE KILL YOURSELF, a 10,000 page document of electronically mediated pornogrind lyrics and documentation of my own experiences of sustained violence. 10,000 pages is 100 lbs of standard paper, equivalent to my body weight. BURN EVERYTHING is literally a corpus of predatory, abusive language i have ingested and chosen to hurl back into the world as my own.
my ongoing work with the project LINGUA IGNOTA is to appropriate the tropes of male-dominated extreme music and to re-articulate these tropes in a meaningful way for survivors of violence, eschewing traditional models of ‘healing’ in favor of Moral Ambiguity and Total Nihilism.
this version of DISEASE OF MEN is unmastered and abridged. full version will appear on an upcoming release.
read more about the 10,000 pages here.



































screen-shot-2017-01-04-at-12-34-06-pmBURN EVERYTHING




























IMG_3366
Kristin Hayter is an interdisciplinary artist, composer, and performer currently living in Rhode Island. She holds a BFA from The School of the Art Institute of Chicago and an MFA in Digital Language Arts from Brown University. She will be pursuing a doctoral degree in the Fall of 2017.
A classically-trained vocalist, Kristin works with a variety of media and technology to create dense works harnessing the tech-mediated or acoustically extended voice, and is inspired by vernacular extreme forms such as black metal, power electronics, and harsh noise as well as sacred and liturgical music.
Her solo project LINGUA IGNOTA explores violence and gender in extreme music through a morally ambiguous, emotionally/physically intense performance practice that has been described as “crushing.”

utorak, 27. prosinca 2016.

Gus Péwé - My Favorite Planet

Image result for Gus Péwé


Premlad da budeš mlad.
guspewe.com/home.html














My Favorite Planet   2011
A surreal story of two estranged lovers, as one is left behind with only memories.

Written, Directed and Edited by Gus Péwé

Cinematography by Kylie Clark

Starring Ahtra Elnashar and Yaron Lotan.

Official Selection - 2012 Ann Arbor Film Festival

Official Selection - 2012 San Francisco Frozen Film Festival




This Vacuum is Too Loud   2012

The story of a man who finds himself lost on Earth, determined to return home.
Written, Directed, and Edited by Gus Péwé
Music by Tommy Colangelo
Starring Merlin Bell
with Lauren Adejumo, Sindy Ortiz Pimentel, Xavier Vargas, and Tierney Wiles
Winner of the Visions Film Festival and Conference 2013
Official Selection - New Orleans Film Festival 2012
Winner of the Hammer To Nail Short Film Contest: June 2012
Official Selection - The Wexner Center's 2012 Ohio Shorts Festival


(***Winner of the Hammer To Nail Short Film Contest: June 2012!*** Visit the official website of filmmaker Gus Péwé to learn—and watch—more.)
In my personal experience, just about every director I’ve spoken to or read about has pretty much always looked back on his or her earliest work with cringing and embarrassment. Even at their best, these early films tend to fall short of their marks. The reasons for this are multitudinous and obvious—the primary one being that making movies is actually a very difficult thing to do. But in many cases, the problem starts before production. It begins with the basic concept. So many young filmmakers are too busy copycatting other filmmakers to forge a path of their own. While that’s understandable, it doesn’t make this work any less painful to sit through.
But here comes Gus Péwé from Denison University with This Vacuum Is Too Loud. Though this endearing just-under-six-minute short film is far from perfect, it manages to accomplish something that should have Péwé’s instructors feeling very optimistic. Made while a freshman undergraduate, Péwé’s film is a super-duper example of a class assignment made on a tiny budget that has something many professionally produced films at more widely heralded film schools are often missing: a truly distinct voice. Péwé’s film is as far from a “calling card” as you could possibly encounter—thank God for that—and though that makes it easier to forgive its shortcomings, as the film builds to its stirring conclusion, those shortcomings no longer even feel like shortcomings.
This Vacuum Is Too Loud tells the story of a non-earthling who has been stuck on our planet with no ability to return home. Only this non-earthling doesn’t look like an alien. He looks like a regular old Denison University undergrad. You might be thinking that this was lazy writing/casting on Péwé’s part, but I ask you, would you rather this alien look more like an alien in the silvery sci-fi sense? Especially if it meant breaking out the tin foil from the kitchen cupboard? Fortunately, Péwé doesn’t try to reach beyond his limited production means with this early class assignment. Had he done that, he would have lost this viewer immediately.
Our tender alien hero does like some things about living on Earth—orange soda in a big Dixie cup and “the part of the year when the trees fall apart”—and he even found himself falling for a pretty girl, but when she paid more attention to a kid who had no decent values or respect for other people, he decided that he was officially over Earth. Now he just has to build a homing device that will enable him to travel back to the land where he belongs.
To us, that life might seem less than ideal. Yet for this alien, that is his home. He goes on to wax defensively poetic about how misguided it is for people to talk smack about outer space, about how empty and boring it must be. “Some planets are empty as the emptiest parts of space,” he says, as the camera drives past an unflattering—and seemingly unending—strip of suburban American sprawl. Right you are, shunned alien.
Though This Vacuum Is Too Loud is ultimately about loneliness, it’s about homesickness too. Incorporating animation into his otherwise scrappy digital video aesthetic, Péwé transcends his limited production means and delivers a strangely affecting conclusion. Moments after the credits have rolled, This Vacuum Is Too Loud remains there hovering like a weird planet in the nighttime sky.— Michael Tully

The Big West  2012

Territory and Hombre, two friends working together as bounty hunters, are out on the hunt for a tiny-hat-wearing psycho named Chicklets.
Written, Directed, and Edited by Gus Péwé.
Produced by Robert E. Hoxie
Starring Tommy Colangelo, Kyle Stacks, Trevor Cochran, and Chelsea Vandenburgh, with Cat Bailey, Sophia Rogers, and Travis Lockwood.





Same Ghost Every Night  2013

After moving into a new home, a young man deals with his feelings for an employee at the local grocery store. Meanwhile, he keeps seeing a bicycling bear, and meets a ghost that lives inside the food in his kitchen.
Starring Sawandi Johnson, Yamma Danfa, and Sophia Rogers.
Written, Directed, and Edited by Gus Péwé
Produced by Robert E. Hoxie
Official Selection - New Orleans Film Festival 2013
Featured on Directors Notes



Fight City: Shaolin Throwdown 2015



The Three Vivid Dreams  2010


Three friends share the vivid dreams they all had the previous night with one another. Discussions of lunar-cats, profound wrestling experiences and unattainable iced teas ensue, as well as Nietzsche quotes that don't appear in Thus Spoke Zarathustra.
Written, Directed, and Edited by Gus Péwé
Starring Gus Péwé, Kyle Stacks, Tommy Colangelo, and Carl Péwé.
Winner of Best Narrative at the 2010 Future of Cinema International Film Festival


Featured on Jacksonopolis.com




Brent Green: Gus Péwé is something like a young Steve Buscemi or Richard Linklater. His films are impossibly charming and moving, and he makes them out in rural Michigan with a gaggle of incredibly talented friends. This is what middle America looks like. Things will get good again.