The book is made with the purpose of documenting my work and making implicit my thinking as well as artistic process. It is version 0.2 of a book that might never be finished, as it –much like the process that it documents – will be subject to constant revision. It also serves as a conceptualizing framework for what I refer to as Po[e]litics, and for the artistic research project ‘Po[e]litics from the Anthropocene’. Po[e]litics can be thought of as a Portable Philosophy Format, a .ppf with variable compression. Po[e]litics sometimes takes the form of annotated poetry (illustrated for example in ‘Oedipus Reaches Maturity’ (below)), but it is not solely a concept relating to the written word, but rather an aesthetic container for mixed media hyper-narratives, which can be read in any order as well as on various levels of depth. It is an attempt at constructing a language capable of addressing the complexities of contemporaneity: A trans-medial language appropriate of the anthropocene; A language for the networked human.
The book is available for download/reading here I make it available like this because I believe strongly in the sharing of information, it is however a work intended to be experienced as a printed book (and it does in fact work much better in that format), so if you would like one drop me an email and I can send you one for the price of the printing cost.
Passibility is defined by Lyotard (1992) as a state of subjective sensation: “It is a capacity or awareness, a receptivity for experience that does not pre-calculate that experience, but receives it as a donation” (Van de Vall, 2008). I like this term as it encapsulates well the quality of art perceived, something quite difficult to theorise. Why do we appreciate the art that we do? For example, I was the other day introduced by a fellow student to Mike Stubbs’ work “Granular Synthesis”: a multichannel video piece that displays a woman’s face looping through minute incomplete movements, presented in four screens.
In essence, my ambition is to create art that illuminate, question and alter (hack) the cognitive process of defining self in relation to our embedment in culture and environment. I believe that this could provoke new insights in the relationship between the individual, and the environment, and in turn the way we interact with our shared space, as well as think about our effect-ability as a part of the human species and the natural systems that compose our environment.
“My aim was to make you feel out of your minds” (Noé, No Date).
As an artist, I am interested in the relationship between the digital and the physical, in the translation and mediation between these spaces and how they affect our perception and diffuse boundaries between the imaginary and the real. What is considered as “real” in the digital age? How do we relate to “being in” and “being with” virtual environments (Luciani, 2014) and how does the virtual affect our understanding of ourselves and of our physical world?
Atmospheric chemist Paul J. Crutzen has proposed the concept of the Anthropocene to characterise the contemporary geological era. It signifies the dominating geological force of human agency having a major impact on global ecology (Crutzen/ Stoermer, 2000). Due to the industrialisation and its consequential processes in energy production and consumption, the Anthropocene is active at least since the 18th century. Stating human agency as a geological force conceptualises humanity as a species and dissolves the nature culture dichotomy; boundary constructions between the natural and social sciences; and poses questions concerning global identity and individual responsibility (Chakrabarty, 2008). Which role does the individual have in the creation of the environment? (Latour, 2014) Can we make a separation between identity and environment, when we generate our understanding of self through a constant negotiation with our environment?
“virtual worlds show us how, under our very noses, our “real” lives have been “virtual” all along. It is in being virtual that we are human: since it is human “nature” to experience life through the prism of culture, human being has always been virtual being. Culture is our “killer app”: we are virtually human” (Boellstorff, 2008).
In order to engage with these questions I intend to experiment with immersive virtual environments, composed of digital objects created with a combination of different techniques such as; 1) real-time generation from user input (using for example Movement Sensors, Electro Encephalo Gram (EEG) or Biometrics), 2) 3D video (captured with 360 degree cameras or depth sensors (RGBD)), 3) 3D and 2D animation.
I imagine these virtual environments to be viewed through Head Mounted Displays (HMDs), and be created with tools such as Unity 3D, Unreal Engine and openFrameworks, as I would like to develop my limited knowledge of the medium(s). They could however also be presented as immersive installations integrated in shared physical space using techniques for spatial placement of digital content (e.g. a combination of Projection Mapping and Augmented Reality) as this also is something that I am very interested in.
My work is inspired by; 1) artistic influences (e.g. the works of Chris Salter, Kyle McDonnald and BeAnother Lab), 2) the social sciences such as Anthropology, Cognitive Science and Psychology (most notably Edward Said, Tom Boellstorff and Andy Clark), 3) the hard sciences e.g. Biology and Quantum Physics as well as 4) Science Fiction (most notably William Gibson and Niel Stephenson).