There is no software Cluster of planetary computation
Tatyana Zambrano
Theodoulos Polyviou
Loukis Menelaou
Wisrah Villefort
GUO Cheng and Weihao Qiu
Nushin Yazdani & Can Karaalioglu
The Rodina
“There is no software”
A cluster of planetary computation
As immaterial as they may seem, data, digital objects, software, and their networks are dependent on material carriers. The hardware that holds up the works of art presented in this cluster, depicted as a planetary system, intertwines with the Earth.
The statement above negating the existence of software, stemming from Friedrich Kittler’s eponymous essay, refers to an assumption that even the virtual is material and that all digital entities are dependent on physical machines and their interconnections—a global stack that is a key infrastructure of our time and of our future, however apocalyptic it may be.
Data in real time generates ever-evolving landscapes of human activity and can show our incessant, abundant, global, seemingly permanent flow of materials, stocks, and goods. We may need an abstract oracle to make us believe that our resources are finite, despite we propel machines to generate a growing number of virtual realities our lifeworld diminishes. With the creation of immersive computer-generated worlds, our mundane surroundings can apparently be repeated and re-enacted to reshape and renegotiate their meanings, but their reciprocal effect on our physical surroundings is undeniable. This have never been the case more than it is now, as digital world-making evolves a third version of the internet, and as blockchain and NFTs hint at new types of sovereignties and economies.
Artistic speculations may indicate a path of rethinking and rewriting history through more inclusive digital worlds, while drawing attention to the ecological impact that generation and hosting causes. They can renegotiate meanings through new interpretations of historical places, or disclose portals to remote sites or dystopian perspectives on immortality and sustainability. They can offer us alternative ways of grasping the material and immaterial effects of planetary computation.
In the Mexican desert a curious queue of humans lines up in front of the facilities of ECMI (Estimados Comunistas Mexicanos Inmortales / Dear Immortal Mexican Communists), a cryopreservation or cryogenics company that conserves bodies in the hopes of reviving them in the future. All of them have the chance of a new life, since this vast infrastructure, running on Mexican fossil fuel, is not exclusive to the Silicon Valley bourgeoisie, but serves the dream of immortality for all. This utopia thus finds its reference in Russian cosmism, an intellectual movement that developed in the late nineteenth century. Space travel, colonization of the Milky Way, and the conservation of life were central to cosmism, some ideas of which have fed into transhumanist visions. The storage facility of frozen bodies could seen as a museum, being the means of the material restoration of life, where death is not an end but a beginning.
Tatyana Zambrano (b. 1982, Medellín), is a publicist and visual artist. Her projects mix art and advertising to create political fictions from a female point of view in the Latin American social context. Using parody, absurdity, and irony, sometimes the projects are developed on websites or TikTok, other times through scenarios with videos, merchandising, props, jewelry, 3D printing, and photos. She teaches multimedia humor in contemporary art, photography, and video at the Universidad de Antioquia and Universidad del Bosque in Bogotá. She is currently part of the collective Nmenos1. Her work has been recognized at Les Rencontres Internationales New Cinema and Contemporary art in Paris/Berlin, the Getty Research Institute, Salón Nacional de Artistas de Colombia, and BIM Bienal de la Imagen en Movimiento in Argentina. She was selected for the Akademie Schloss Solitude Fellowship program in Stuttgart in 2023.
Concept: Tatyana Zambrano
Production: Natalia de la Rosa and Bernardo Saenger
3D modeling: Hernán Rodríguez
Development: José Alejandro Coronado
Audio credits: Daniela Vega. Ombra Mai fu.
Transmundane Economies: Bellapais Abbey
Theodoulos Polyviou
2022
Walk-through video extract of the VR experience, originally created for Künstlerhaus Bethanien
Transmundane Economies deploys virtuality and associated digital technologies to study, reconstruct, and fill voids in Cypriot cultural heritage, steering clear of a nationalist agenda to speculate instead on relations between queerness, repair, and reinvention within the island’s historical entanglements. It investigates how the complex configurations formed between material culture and new immersive technologies—such as AR, VR, AI, and machine learning—can generate new information and experiences, renegotiating value systems as politics, technology, and spirituality all shift.
Bellapais Abbey, the first chapter of Transmundane Economies, was made in collaboration with architect Dakis Panayiotou through a year-long investigation into the ruins of a thirteenth-century monastery in northern Cyprus. It virtually reconstructs the site as a setting for a fully immersive site-specific VR installation meditating on the spiritual experience of contemporary queer bodies in institutionalized Christian Orthodox spaces, including the social conventions their architectures engender and uphold.
Theodoulos Polyviou (1989, Cyprus) lives in Berlin. He is the cofounder and former director of the experimental project space Koraï in Cyprus. In 2020 he cocurated the 19th edition of Mediterranea Biennial: School of Waters, San Marino. He has presented his work in solo shows at Künstlerhaus Bethanien, Berlin, and ZKM | Center for Art and Media, Karlsruhe, among other places, and in various group shows, including the Cyprus Pavilion at 2021 Venice Architecture Biennale.
Linked to Transmundane Economies: Bellapais Abbey, Loukis Menelaou’s architectural drawings form part of a wider investigation of the relationship between narrative, queerness, and space in Theodoulos Polyviou’s work, and use space syntax theory to systematically analyse spatial qualities around queer phenomenology and architecture.
Loukis Menelaou (1997, CY) is an architectural designer based in London.
EEE appropriates an existing map that allows visitors to track the geolocation of nearby vessels to create a hypermedia artwork that addresses the flux of commodities that originally started with the colonization of what is now called the Americas.
Wisrah Villefort (Buritizeiro, 1989) lives and works between Braunschweig, Germany, and São Paulo, Brazil. Through scores, sculpture, text, photography, sound, and video, their work addresses the remaining structures of the transatlantic colonial project, focusing on institutional critique, private property, and the relationship between nature and capital. In 2023, Villefort was announced as one of the selected artists for the Ducato Prize, Italy, for their 3-channel sound piece titled DOORS.
Abstract Oracle Miner 0001460528 is a virtual device producing acronym combinations that act like prophecies responding to questions raised by visitors. In rendering several complex 3D scenes, the algorithm takes hardware performance evaluation values as random seeds to generate a virtual oracle. During the process, the temperature of the hardware running the webpage may rise, the cooling fan may generate noises, and the image rendering may slow down. In other words, the oracle takes its offering from the hardware, the foundational structure of the virtual world, reminding us that the virtual is by no means effortless or light as a feather. The oracle produced by computing power consumption is objectively “better” than other forms of human divination, and the abstraction of the conjured visions can expand participants’ imaginations.
Guo Cheng (b. 1988, Beijing) is an artist who currently lives and works in Shanghai. Guo predominantly works in sculpture and installation, often exploring the mutual influence between established and emerging technologies and individuals in the context of culture and social life. In recent years his practice has dealt with themes such as the Anthropocene and second nature, digitalized interobjectivity, and the ideologies behind infrastructure. Humorous yet calm language links grand issues with seemingly arbitrary objects and provides critical perspectives for discussion.
With a background in computers and media arts, Weihao Qiu situates his interdisciplinary practice between interactive art, computer algorithms, and photography, interrogating images’ changing ontologies in the current transition to the age of AI. Through media such as cameras, sensors, computer programs, neural nets, and AI-training datasets, he creates undefined images and interactive experiences that prompt audience reflections on the improvements and deprivations caused by new technologies.
The viscous porosity between natural and human-made has become increasingly clear in recent decades, especially through palpable manifestations of climate change—including an upsurge in the frequency of droughts, storms, fires, floods, and hurricanes. Still, we often view nature as subdued through technology. This is a result of a one-sided view positing that human agency affects the natural order, instead of acknowledging that the opposite may apply—or that a constant interaction and porosity between the two is the likely reality.
Undermining any effort to make an ontological division between natural and cultural, blurring boundaries between virtual and actual, real and possible, this porosity allows for a permanence of interactions that gives life to phenomena in constant becoming. Computer-generated realities reflect this malleable and dynamic lifeworld. Despite their elusiveness they are inherently material and in dire need of energy—meaning earthly resources. Extraction of these has an immediate influence on the ecosystems in which we and such technologies are embedded.
Via one hundred and thirty pores, Poring the Ecocide reveals certain ecological disasters caused by the energy industry. The pores also connect various computer-generated spaces that users may ramble through, collecting evidence of individual incidents in form of pore-tokens and engaging with the symptomatic consumption of the ecosystem—the Ecophagy.
As described by Nancy Tuana, “porous events” are ecological disasters that penetrate the surface of our reality. In Poring the Ecocide, portals act as pores revealing information about such ecocidical events; entering the portal means activating the pore and exposing them.
The Rodina is a post-critical design studio with an experimental practice drenched in strategies of performance art, play, and subversion. The Rodina invents ways of producing and preserving experience, knowledge, and relations. It intertwines its interests in social issues and situated knowledge with the development of design as a space for new imaginaries.
concept: The Rodina
References:
Nancy Tuana, “Viscous Porosity: Witnessing Katrina,” Material Feminisms, volume 188 (2008): https://www.academia.edu/12103511/Viscous_Porosity_Witnessing_Katrina.
Robert A. Freitas, “Some Limits to Global Ecophagy by Biovorous Nanoreplicators,” (2000): http://www.rfreitas.com/Nano/Ecophagy.htm.
Privacy Policy
Note: This is a translation of the legally accurate and binding German original. In case of discrepancy, the German original shall prevail. Please see below for German version
Data privacy notice regarding the use of the website and online content provided by Institut für Auslandsbeziehungen e. V. (ifa)
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There is no software