AI Dreams for My Drone Sister

The quest for the immateriality of a landscape. These clips are the beginning of an ongoing project diving into the alienated selves humans are continuously coming into contact with. Blurring the unreal with the many selves we can pick from; prone to consequential bias. It seemingly will not end at the envisioned state. 

The quest for the immateriality of a landscape. These clips are the beginning of an ongoing project diving into the alienated selves humans are continuously coming into contact with. Blurring the unreal with the many selves we can pick from; prone to consequential bias. It seemingly will not end at the envisioned state. 

In this sense, too, the sensuous-emotional also comes to presence in the duration of the live performance. It does this through a corporeal trace as a nonconscious cognitive flux which operates as a feedback loop system, a quantum system that is undecidable. In parallel, it takes a way of looking at live performance as a complex symbiotic system. This point leads to the ethical-as-aesthetic and aesthetic-as-ethical questions around relationships that happen at the moment of performance. It brings in sympoietic relations that operate as a nonconscious cognitive network, a form of a sensuous ecology that enables distribution of intelligence.

The brainwave performance experiments with live transmission of brainwave data (EEG) into the computer generated sound and imagery (CGI). The brainwaves CGI enables to rethink an understanding of a photographic image as a cognitive kinetic flux. It translates a brainwave into a viscous, nonlocal, undulated body. The body that performs as an evocative portrayal gesture of hyper-objectivity, a photographic image of the contemporary world that goes beyond the human sensuous, and gets into the dimensions of supra-sensuous. It brings in the brainwave frequencies, and the drone cognition that is enfleshed with its sensuous patterns. The radical otherness of drone’s liveness and intelligence evokes aesthetic-as-ethical and ethical-as-aesthetic questions around distributed intelligence as a different form of metrics.  At the moment of performance all these are being entangled, and translated into the human perception of the real in a form of conscious flattened metrics of quantum reality. The metrics themselves are always already plural. Being grasped by the digital (photogrammetry, 360-degree imaging, virtual reality), they operate as another translation and create different forms of relations. 

This form of performance, one could say, is operating as a set of queer relationships with the digital: the eerie platform of the artificial, the real, and the embodied. It is a queering of the digital and its analogue symbionts. It operates on spoken word poetry that is co-written with AI (HumInt-AI psychological-sensuous feedback loops), drone performance, and brainwave performance. It brings in an understanding of AI poetry and artificial intelligence in relation to sensuous literality and the language of translation.

In shapeshifting the sensuous into an open form of motion as a quantum relation, importantly, too, it suggests a radical and ethical rethink of the notion of Geist in relation to nonconscious cognitive kinetic flux. This relation is plural and operates as a form of cognition that is enabled by the entanglement of wave fields at the moment of performance. It goes beyond the human perceptive abilities and beyond human consciousness, which in itself operates as a flattened metric of quantum reality. This form of relation, neologised as ‘quantum geist-ing’, is in a constant motion that has a discrete aspect to it. As the research will develop, this ‘quantum geist-ing’ requires plurality and diversity of forms of intelligence and liveness as a condition for a complex symbiotic system in order to establish a distributed form of sensuousness. This distributed form of sensuousness goes beyond the human sensuous and, simultaneously, it goes beyond the sensuous of all symbionts of the system individually. This multiple form of sensuousness is what my work names as the supra-sensuousness. 

This move enables one to rethink a logic of sense from the perspective of quantum entanglement. Further, it provides a systematic (albeit undecidably systematic) way to look at intelligence and liveness at the moment of performance through the notions of complexity and symbiosis, and in relation to nonconscious cognition.

Artificial Grief uses the paradigm of radical matter to inhabit dimensionalities of curved time. Leading onto questions of super-positionality and nonlocality, it brings to presence a way of thinking time as both a dimension (velocity, mass, ‘curved’ ) and as a wave (field, plane). In so doing, it makes accessible ‘duration’ as sensuous, poetic, grasped at the very moment of performance in relation to the wave function. This approach enables a sense of the logic (or a sense of ‘game’ in the Lyotardian sense) of time disruption dimensionalities of curved time, including questions of super-positionality and nonlocality. To dive into that curvature, it takes, as a starting point the ephemeral and the sensuous as the ‘ana-materiality’ of time, i.e. as dimension and as a thinking of reality as a wave field. It leads to an understanding of duration and the moment of performance in relation to the quantum wavefunction. In so doing, it enables one to grasp a sense of time disruption as a kind of ‘gaming’, one that happens at the moment of performance. Artificial, artifice and ‘the real’ no longer stand in opposition to each other.

The quest for the immateriality of a landscape. These clips are the beginning of an ongoing project diving into the alienated selves humans are continuously coming into contact with. Blurring the unreal with the many selves we can pick from; prone to consequential bias. It seemingly will not end at the envisioned state. 

To put this slightly differently, supra-sensuousness merges with nonconscious cognitive flux and, in so doing, re-thinks ‘human’ as always already a plural self, a multiple-singularity, an ecology of selves, or as Margulis would say, a holobiont; that is a morphogenic system of human cells, virome, microbiome, and etcetera. Through live performance, it extends this notion further, beyond the organic, in the form of an AI-drone-human holobiont. This move enables to start articulating philosophy and ethics of artificial or ana-radical forms of intelligence and liveness, which allow to engage with the notion of a live digital-analogue performance in the context of quantum reality. It enables one to create an entirely different sense of matter and ecology in a performance work, contemporary art and actual reality. It engages with a differently poetic-as-technological and technological-as-poetic form of performance.

(2020) Performance for Entanglement: Just Gaming, RCA Visual Cultures Lecture Series, Zoom/ Royal College of Art, London, UK, 0.10’

synthetic jellyfish,
virtual abyss 
subatomic slade 
viridian doomed gaze
artificial grief
zero one spell
haunting virtual fear

opaque pulsating bleeding edge
deep nest
                                     stellar lymph
transpiring qubit
grasping disentangled state

multiverse dive
virtual slum
sinking powder

dispersed ultrasonic winds
probabilities shell

spinal trap
shifted perception
transferable genetic drug
inhale
fainting
shock
smoothed turquoise gloom
bottomless chasm
timefolds
nuclear rookery
                  hypnotic gap
 quivering pastel subconscious
                                                        vision disorder
                                                                                             velvet malachite

slime-ish void
trembling sulfuric spasm
digital thirst
suffocation streaming from the shade

cyclic myth
ghosting bleak emerald electromagnetic waves
                                          artificial melted self
                           carved on heart cells
disembodied chimaeric system
synthetic compound
myrtle green cortex
phasing siloxane penetrating rhythm
floating derivatives
electrifying shot
eight-petaled blood stream
wireless tentacles
purple chemical wounds
boolean synthesis

tendril
red slime
sulfuric sweat
pulsating crimson crystallised flesh
burning deep
repulsive tender digital ooze

azure mire
swollen veins
blade emerald cut
liquefied distributed pain 
eye bleeding amethysts
deafening mute scream
tickling brain

through the nostrils

(2019) Performance for ArtFutura 2019 Festival, Iklectik Art Lab, London, UK, 0:15’

transplanted algorithm
whirling corruption
fluidity sip
civil twilight
ionized nitrogen
eerie touch 
blind helium fusion heatwave

plasmoid ecology
granular blood
pale-green fractal silt
glistering silver
pulsating rift
dismal spectral dreams
data blizzard

radioactive purple lymph
chemical rhizomatic shift
radical otherness
quantum swerve
phasing siloxane penetrating rhythm
bleeding crystallised nodes
alkaline digital greed
haunting virtual fear
deafening whisper of burned flesh
palpating goosebumps
needles through sharp longitudes
blue soiled gravity shoot
inhabiting virtual flux
dissolving sympoietic difference

(2019) Performance for Data Loam: Sometimes Hard, Usually Soft [the future of knowledge systems], a group exhibition, Angewandte Innovation Laboratory, Vienna, Austria, 0.15’

(2019) Performance for CARPA6: The 6th Colloquium on Artistic Research in Performing Arts, hosted by the Performing Arts Research Centre Tutke at the Theatre Academy of the University of the Arts Helsinki, Kiasma Theatre, The Museum of Contemporary Art Kiasma, Helsinki, Finland, 0.45’

(2019) Performance for "Entanglement: The Opera" (on Artificial Intelligence, Hive Time, and the Future of Knowledge Systems in homage to Kurt Weill’s anti-fascist White Cheese), RCA Visual Cultures Lecture Series, Dyson Gallery, Royal College of Art, London, UK, 0.15’

Through these relations come forward other forms of liveness and performativty, the liveness and performativity of, unexpectedly, a new understanding of the archive.

While it follows Penrose’s passage of thinking of consciousness through quantum field dynamics, brainwave function, wave interference patterns and wavefunction collapse; this move reveals the metrics problem in the relationship between quantum reality and consciousness. Whilst, simultaneously, it brings in the brain waves and the drone’s sensuous frequencies to the dimension of [human] actual-perceived, which enables to bring forward new ways of parrhesiastic [truth-telling with ethicality aspect to it] embodiment in the contemporary technological setting. This form of embodiment involves the technological, the carnal, the sonic, the spoken, and the computer-generated (imagery, sound, text). It operates through creating a kind of a neuronal network, a distributed intelligence networking architecture. It enables to introduce the notion of radical care that involves pluralized sensuous feedback loops that are happening at the moment of performance in the wave fields (mechanical waves [sound], electromagnetic waves [light, brain waves]). These feedback-loops enable a kinetic flux as a form of nonconscious cognition, as a form of overlayed poetics, and as a form of multidimensionality. While the performances are living-dying-grasping virtual-carnal installations of poetics, they also are the multidimensional supra-sensuous encounters of multi reality and ecology of multiplicity of selves, the AI-drone-human holobionts, which enable a sensuous swerve to happen, and bring in a radical shift in understanding of being in the world.