[expo colectiva] El meu cos coneix cants inaudits...

x, y, z (Possible Bodies, 2023)

La computació 3D ha evolucionat històricament amb una tecnologia i una ciència d'arrel patriarcal i colonial. D'aquesta manera, aquesta tècnica s'ha alineat amb el règim econòmic hegemònic i les seves pràctiques d'optimització, normalització, taxonomització, propietat i ordre mundial.

Els llegats del desenvolupament industrial comercial deixen rastre d'aquell imaginari i expliquen les històries d'una viva tensió entre "el probable" i "el possible". La volumetria, es defineix com un conjunt de tècniques de producció de volums mitjançant la mesura de la matèria (somàtica, ambiental); la volumetria digital fa el seguiment, captura, modelatge i escaneig en 3D. El seu valor rau en (re)produir i accentuar amb massa facilitat mons probables, i aquest procés encara s'intensifica més dins la hipercomputació contemporània. 'x, y, z: Volumetric Regimes' consta de tres fotogrames d'una pel·lícula que sempre està en procés.

Aquesta pel·lícula que potser no es farà mai, demana angles desobedients que poden anar més enllà de la rigidesa de les tecno-ecologies de la volumetria digital. És un intent trans*feminista de pensar a partir de l'agència de certs artefactes culturals, amb l'esperança d'ampliar les seves possibilitats més enllà de les maneres de fer i de ser predissenyades.

 

Bòlit, Girona, Del 10 de febrer al 30 d’abril de 2023

"Aquesta exposició i les activitats que l'acompanyen és una recerca col·lectiva sobre qüestions culturals vinculades amb la identitat i el gènere a partir d'un treball sobre el cos i l'anormalitat, és a dir, sobre aquelles "alteritats radicals" que qüestionen les normes, les figuracions i el que s'espera d'un cos."

+ info de la expo y sus activaciones: https://web.girona.cat/bolit/exposicions/2023/cantsinauditsdelcos 

In the mouth of a polar bear: The undead feeling of the world

by Cassandra Troyan and Helen Pritchard

commissioned by DONE 5 (Foto Colectania)

PROJECT'S WEBSITE: http://theantimenagerie.net/2021_In_the_mouth_of_a_polar_bear/

In this artistic research project Helen Pritchard and Cassandra Troyan engage with the production of transpecies animacy in the domains of edu-tainment, policing, and the military industrial complex. They interrogate the capacities of “legged robots designed to be used by the military, industrial, mining, energy, public safety and last-mile delivery” by Ghost Robotics, to animatronic spy animals made to look believable in natural history BBC programming, “Spy in the Wild”. All violent scenes dependent on visualizing technologies of feeling the world through aggressive sensing, scanning and surveillance.

Posing as either helpful or harmless machines, such as the Boston Dynamics dogs that can pick up your laundry, to more-than-animate soldier combatants dancing to tracks such a “Do You Love Me”. These robots are often posed as feeling the world, although not through embodiment, but with undead visual practices. In their physicality, they are a spy, spirit, or wraith –– witness to the world they sense and scan, yet beyond and removed from the consequences of its material realities. A viewer is constantly left with the place where a face should be looking back at you, or to look into the eyes of an animal expecting recognition only to see a camera lens or computational sensor returning your gaze.

Through the para-fictional scenarios explored in these viral video poems they investigate how transpecies storytelling and visual sensing technologies if not countered otherwise can be imploded as a mode for structuring the racist western imaginary of militaristic carceral imperialist fantasy. Using the visual and sonic principals of clickbait trauma-porn against itself, they reject a negative world-building project by instead approaching these techniques from a perspective of queer decolonial solidarity –– seeking to ultimately abolish the category of the species, along with the injurious technologies that could name, sense, and scan it as well.

[presentación y conversación online el 30.09.21 a las 19h CEST | última actividad de la 5ª edición de DONE] 

+ info: https://done.fotocolectania.org/edicion5/en/creation/in-the-mouth-of-a-polar-bear-the-undead-feeling-of-the-world/#DONE

>>> RECORDING OF THE EVENT >>> https://www.youtube.com/watch?v=S1-6zkgr9lw

 

 

Sinking Alloyances + Planetary Burial

 

Sinking Alloyances + Planetary Burial is the ninth entry to the ROCK REPO – an ongoing enquiry into computational, mineral time and matter.

Artist collective The Underground Division (Helen Pritchard, Jara Rocha, Femke Snelting) have created a new audiovisual installation (3D renderings, models, sound and text) presented at the newly transformed Eco Gallery at Wat Tyler Country Park.

Planetary estuary environments are recognised for their capacities to capture and store carbon, known as carbon sequestering. Quantified, measured and commodified as sinks for so-called ‘bluecarbon’, saltmarshes are rendered back into the flows of carbon trade.

This new artwork meditates on what it means to compute the volumes of carbon that are ‘buried’; the microbiomes and topologies, held together by root lattices of cordgrass in estuaries and mangroves across the world. Showing the liveliness and abundance of estuaries that is in excess of capture.

View on-line: http://ddivision.xyz/rockrepo/sinking/ (allow your browser to play sound).

Sound: Shadow Graphs, Katrina Burch aka Yoneda Lemma feat. Ultrasonic Dreams (2020), commissioned by Metal for the Estuary Festival 2021.

+ info about Estuary Festival 2021: https://www.estuaryfestival.com/

The Courier Bag Praxis of Friction

from/about/around a new project by Joana Moll! 

"The Hidden Life of an Amazon User" sheds light on the environmental costs of Amazon’s aggressive monetization of its users: the user is not just exploited by means of free labor, but is also forced to assume the energy costs of such exploitation.

The project includes three commissioned texts by Jussi Parikka, Jara Rochaand Christian Ulrik Andersen & Søren Bro Pold, available on the website of the project. 

 

Link to the project: https://janavirgin.com/AMZ/

 

 

The crisis of presence is always already mundane: a power wasted –or washed away– by a capitalist patriarchocolonial matrix of woven and wefted infrastructures: a braid of powers entwined towards any sort of extraction, growth, and control. The linearity of the uneventful scroll in Moll’s work starts to be crooked, rotated, flipped, interlaced. In its crafted disorientation it asks: Which trans-actions lay beneath, beyond, or behind the monumental source code of a banal purchase (banal both in terms of content and action)? How many instances of capitalist turbo-universalism and techno-colonialism are carried in this scrolling gesture? What are the nuances of totalitarian innovation brought by with the questions that this frictional scroll makes available?

Friction is the result of Moll’s sticky delivery of codified entanglements and complex matterings whose effects and affects are otherwise kept hidden in plain sight. Moll takes as a praxis of friction the tilting of the scroll of a certain hiddenness of presence while braiding the measuring units of a world that contains some lives but not others. In doing so, her work opens up the conversation about what partial reparations might be at hand under elastic guises radically different to those of straight guilt or erected victimhood. And she unheroically winks: ‘be scroll, my friend’.  

Full text here -> https://www.janavirgin.com/AMZ/rocha.html

Somatopologies en Luma, Arles

Hoy, inauguración de "A School of Schools: Design as Learning" en #Luma #Arles. Possible Bodies participa con "Somatopologies". Materiales también accesibles online: https://possiblebodies.constantvzw.org/somatopologies/ 

+ info: https://www.luma-arles.org/en/articles/school-of-schools