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en:48_hours_meltdown [2017/08/31 06:35]
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en:48_hours_meltdown [2018/01/12 20:19] (current)
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 This text was published in Versorgerin # 115. This text was published in Versorgerin # 115.
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-**48 Hour Meltdown**+**48 HOURS MELTDOWN**
 **Tanja Brandmayr associates to the project „Eisberg/​The Entity – 48 Hours Meltdown“ undertaken via STWST48x3 MIND LESS, to extended contexts and to the acceleration of contradiction. Quasikunst is dead: Yes / No.** **Tanja Brandmayr associates to the project „Eisberg/​The Entity – 48 Hours Meltdown“ undertaken via STWST48x3 MIND LESS, to extended contexts and to the acceleration of contradiction. Quasikunst is dead: Yes / No.**
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 **Ice as Quasikunst:​** At STWST48x3 the block of ice gets exposed to its most inherent performative quality – a meltdown within 48 hours. Ice performs its own materiality and its extended context. Ice is material, performative agent, and means the introduction of systemic enlargement and its own contradiction,​ it is a systemic-performative relationship of extended contexts. This 48 hour-meltdown is performed within the cultural and contextual research Quasikunst: Quasikunst is, alongside predecing projects, systemic-performative research. Quasikunst makes reference to theoretical notions like quasi objects and the contexts of their multiple interrelations. It is, from project to project, a systemic construct, it means subsurface in all directions, multilayered states, diffuse collectives,​ abyssal connections,​ different materials, and within all that opened up a simultaneous affirmation and negation. It means, in its driving force also: Newly introduced coordinates,​ contexts get extended, opposites question contradictions. ​ **Ice as Quasikunst:​** At STWST48x3 the block of ice gets exposed to its most inherent performative quality – a meltdown within 48 hours. Ice performs its own materiality and its extended context. Ice is material, performative agent, and means the introduction of systemic enlargement and its own contradiction,​ it is a systemic-performative relationship of extended contexts. This 48 hour-meltdown is performed within the cultural and contextual research Quasikunst: Quasikunst is, alongside predecing projects, systemic-performative research. Quasikunst makes reference to theoretical notions like quasi objects and the contexts of their multiple interrelations. It is, from project to project, a systemic construct, it means subsurface in all directions, multilayered states, diffuse collectives,​ abyssal connections,​ different materials, and within all that opened up a simultaneous affirmation and negation. It means, in its driving force also: Newly introduced coordinates,​ contexts get extended, opposites question contradictions. ​
    
-Entity: The iceberg/​block of ice signifies a symbolic entity that has emerged out of a context of meaning and denotation out of nature and technology as a super-object,​ as another actor. In between the wide contexts the block of ice becomes another/an independent actor, becomes an entity that, in its own contradictory nature, has risen to a certain size. As a denoted entity the block of ice stands for ecological and physical presence per se, whereas it also grows as a technological construct unable to form a cultural or any other contradiction. That means that within such systems critique seems obsolete, or impossible, as within a grand scale-amalgamation of systemic contexts a grand levelling becomes apparent, as a situation resemblant to symbolic death. Another factor is the unavaibability of the systems. Interesting is the notion of immersion: This notion that is currently propagated also in the non-technological cultural context developed from IT and refers to an immersion and a coalescence with the virtual environment. The systems that form under the flag of big data and AI, to „immerse“ into it, are actually highly inaccessible and might gain autonomy from man. The subtext of all of this is: The elimination of man – and simultaneously a highly charged promise of personal experience for those humans. Those are the contradictions we are exposed to. Ice as a frozen state also is a symbol for a coldly abtracted promise of experience with at the same time widest inaccessability – in the concrte spatial sense and also in the wider systemic sense of the new entities. ​+**Entity:** The iceberg/​block of ice signifies a symbolic entity that has emerged out of a context of meaning and denotation out of nature and technology as a super-object,​ as another actor. In between the wide contexts the block of ice becomes another/an independent actor, becomes an entity that, in its own contradictory nature, has risen to a certain size. As a denoted entity the block of ice stands for ecological and physical presence per se, whereas it also grows as a technological construct unable to form a cultural or any other contradiction. That means that within such systems critique seems obsolete, or impossible, as within a grand scale-amalgamation of systemic contexts a grand levelling becomes apparent, as a situation resemblant to symbolic death. Another factor is the unavaibability of the systems. Interesting is the notion of immersion: This notion that is currently propagated also in the non-technological cultural context developed from IT and refers to an immersion and a coalescence with the virtual environment. The systems that form under the flag of big data and AI, to „immerse“ into it, are actually highly inaccessible and might gain autonomy from man. The subtext of all of this is: The elimination of man – and simultaneously a highly charged promise of personal experience for those humans. Those are the contradictions we are exposed to. Ice as a frozen state also is a symbol for a coldly abtracted promise of experience with at the same time widest inaccessability – in the concrte spatial sense and also in the wider systemic sense of the new entities. ​
    
-Enhancement of contradiction:​ In some way ice as a material symbolises a vivid contradiction – the material performs itself and the system. Both can be named a negativ entropic state: As one of several definitions there is the enhancement of complexity. And Quasikunst is excactly about the enhancement and acceleration of complexity in the sense of the self-performing contradictions of the objects that are shown – like a block of ice denoted as a Quasikunstprojekt (and also some other elements): The things are, in themselves not only complex but have become contradictory,​ and highly coalesced entities. The task is now to introduce new denotations – against a growing entropy. And in a certain sense in this systemic-performative research of Quasikunst it is not about the enhancement of complexity but about the enhancement of contradiction. ​+**Enhancement of contradiction:​** In some way ice as a material symbolises a vivid contradiction – the material performs itself and the system. Both can be named a negativ entropic state: As one of several definitions there is the enhancement of complexity. And Quasikunst is excactly about the enhancement and acceleration of complexity in the sense of the self-performing contradictions of the objects that are shown – like a block of ice denoted as a Quasikunstprojekt (and also some other elements): The things are, in themselves not only complex but have become contradictory,​ and highly coalesced entities. The task is now to introduce new denotations – against a growing entropy. And in a certain sense in this systemic-performative research of Quasikunst it is not about the enhancement of complexity but about the enhancement of contradiction. ​
    
-I am in my third person. Originally more low-tech oriented, Quasikunst has brought the absence, the vanishing of human actors in its paradox center: This year, at STWST48x3/​Quasikunst,​ also makes reference to non-human actors, as new entities, systemic subjects/​objects,​ quasi-presence of nature and technology. This year at MIND LESS Quasikunst means a meltdown, but also the extension into two more projects that relate to the strategy of enhancement of contradiction as well as to systemic contexts. On the one hand Lisa Spalt´s installation „Enter the Net – Get A Passport for the Cold Land“ that translates the block of ice into the beginning of a text about meltdown – with the inherent question about the actual overcoming of the AI winter or an ecological/​social meltdown. On the other hand there are two robotics and AI research projects carried out the by the group H.A.U.S. They are going to sink into their own contradictions:​ A robot that is meanwhile used in commercial contexts gets reprogrammed,​ in order to question the cultural dimension of presence as „The Robot is present“ – as some kind of questioning of a culturally understood presence that has been brought up by Marina Abramovic (to which it obviously alludes). Hence the question for some sort of ready made serial presence of broadly displayed robot-presences,​ whose contradictions of culture and technology (as we know it) are in danger of collapsing onto themselves, and that, in their banal imitation of all human contexts embarrass a little. bAms as small modules, produced via open source will be displayed at the main deck of the Stadtwerkstatt as self-organising swarm modules – for me personally the are the most distant association to the flurry of the individual parts, that organise themselves with distinguished actors – the people at the maindeck – in an unpredictable way. They are the most open part of the system – and in its dramatic complexities that often oscillate between a flirty idea of the self-abolishment of man and man´s compulsory descend within a man-made desaster, allude to a playful ingenuity, stand as a new symbolic entity within the analysing, perceiving, imaging complexity for the unspoiled individual and his intentional creativity. ​+**I am in my third person.** Originally more low-tech oriented, Quasikunst has brought the absence, the vanishing of human actors in its paradox center: This year, at STWST48x3/​Quasikunst,​ also makes reference to non-human actors, as new entities, systemic subjects/​objects,​ quasi-presence of nature and technology. This year at MIND LESS Quasikunst means a meltdown, but also the extension into two more projects that relate to the strategy of enhancement of contradiction as well as to systemic contexts. On the one hand Lisa Spalt´s installation „Enter the Net – Get A Passport for the Cold Land“ that translates the block of ice into the beginning of a text about meltdown – with the inherent question about the actual overcoming of the AI winter or an ecological/​social meltdown. On the other hand there are two robotics and AI research projects carried out the by the group H.A.U.S. They are going to sink into their own contradictions:​ A robot that is meanwhile used in commercial contexts gets reprogrammed,​ in order to question the cultural dimension of presence as „The Robot is present“ – as some kind of questioning of a culturally understood presence that has been brought up by Marina Abramovic (to which it obviously alludes). Hence the question for some sort of ready made serial presence of broadly displayed robot-presences,​ whose contradictions of culture and technology (as we know it) are in danger of collapsing onto themselves, and that, in their banal imitation of all human contexts embarrass a little. bAms as small modules, produced via open source will be displayed at the main deck of the Stadtwerkstatt as self-organising swarm modules – for me personally the are the most distant association to the flurry of the individual parts, that organise themselves with distinguished actors – the people at the maindeck – in an unpredictable way. They are the most open part of the system – and in its dramatic complexities that often oscillate between a flirty idea of the self-abolishment of man and man´s compulsory descend within a man-made desaster, allude to a playful ingenuity, stand as a new symbolic entity within the analysing, perceiving, imaging complexity for the unspoiled individual and his intentional creativity. ​
    
-Quasikunst at STWST48x3 MIND LESS hence means a reality that is already there, it refers to life and negative entropy in the sense of enhancement of complexity and contradiction which has to be mastered; it means Cold Land, Robots and Block of Ice – as contexts that are still surreal; and it means mindless times, that taste like future even before future has begun: It is about new entitities, it is about everything. The above mentioned main contradiction – abolishment of man vs highly charged promise of personal experience for those humans – are extended into the question: Is the elimination of man the elimination of death? At some point it becomes personal for every one of us. +**Quasikunst at STWST48x3 MIND LESS hence means** a reality that is already there, it refers to life and negative entropy in the sense of enhancement of complexity and contradiction which has to be mastered; it means Cold Land, Robots and Block of Ice – as contexts that are still surreal; and it means mindless times, that taste like future even before future has begun: It is about new entitities, it is about everything. The above mentioned main contradiction – abolishment of man vs highly charged promise of personal experience for those humans – are extended into the question: Is the elimination of man the elimination of death? At some point it becomes personal for every one of us.