The very relationship with the other is the relationship with the future.
Levinas — Alterity & Transcendence.(1)
Cybernesis is in retrograde. The argument for viractualism is spelled out in the usage of tools. The device alters the body’s reach and allows it to pierce formal restructurings. Materiality is an exercise in mechanics. Cybernetics thereafter is a dealing of bodily logistics. The rhetoric of the body is based in limits, the device allows for excess.
In our current age of digitality, the social strata has something of a microbial flow. The flow of the social, a colluded cesspool of triggers and arrangements gather in broad strokes, a collective move amongst individuals. The actions of citizens are mimetic and clustered in discrete movements of somewhat illuminated and figured pointillistic networks. Art as a result has become combatant against existing in a single plane, muddling the binaries of physical/virtual, authentic/simulated. The compound output is a reflex.
Touch and the accrual of sensation has become a subject defined by the current status of reality. Intrusive meta-ontologically emboldened processes make art, to see art in the 21st century embark on an excursion into the rhizomatic. We use devices on and against the body in a situation that poeticizes the ideal of the workstation. The goal is to build up silence, stretch and flex the operations of recursive practices. Wholly futuristic in its ideals, the workstation stirs with the user. Communication between circuitry and marrow corresponds to our schizophrenic interfacing with the false poles of virtual and actual.
The merging of man, machine and intention is primarily autonomous and opaque: one single gesture. A geological groan curls out from deep within the bowels of microbic connection and releases of moved and fixated possibilities between the user and the device. The body slumps over the easel, hugs it and weeps in cybernetic communion. To dissolve is to be is to produce is to establish.
Climate is engineerable, the subjective is embedded in cybernesis; and the spheres of dance are microcosmic. Outer world, context. The machinist, artist-technician and their gear control the climate as synesthetic entertainment in exchange for monistic, embryonic. The conditions for dance can be set upon a continuum of retrofitted development. The addition and the subversion of the continuum mediate that whole of its past. Studio suicide is then a communion in the deconstruction of formality. Tear down to rebuild with a new design in mind.
Virality in circuitry, the intake and exposure of component parts frees just as much as it disrupts. The spaces, the glitches are opportunities. Viractual reality, a hyper-reterritorialized space built in rhizomatic succession, the form of life, the myth of life, and the ritual of everyday life being both tangential and aware of the other fits as a marker of user habits and behaviors; the process in turn enacts it. Territory, identity dissolving in machinic desire suggests a reconstructing, remapping, reguiding of the real following dismantling glitch, metabolization, and immediate reparation.
The slipstream into the glitch personifies the ritual of commerce of everyday life right until the point of studio suicide at the workstation. Discouraging affects hack and interpolate the present conditions, and the violence of which mimics that of severing one’s own head.
(1) Taken from a conversation with J.G. Biberkopf