The performance “how-to-do-speech-with-taqsim” adresses the current power relations of speech positions, which we are experiencing recently worldwide in the polarization of communities, prejudices, origin, ideologies and ethics. “taqsim” as a form of musical improvisation, that usually precedes the performance of a traditional Arabic, Greek, Middle Eastern, or Turkish musical composition. The artist will therefore perform a software code, which consists of parts of a text concerning the topic of how to speak (in a political sense) in digital networked enviroments. During the performance, the artist will stretch, loop and distort text fragments and passages from a popular Turkish music piece. Within the performance the audience will also be invited to become part of a mediated ephemeral space, a sort of becoming a collective voice through their Smartphones.
The work is about questions of participation and felt powerlessness due to the increasing algorithmization of our realities of life. As Luciana Parisi describes it with the concept of algorithmic environments, the work tries to escape the dichotomies of cultural nature, man-machine and tries to oppose a third figure, a figure of transformation and hybridization.
The work refers on cultural-historical references to human-animal hybridisations and transfers this transformation to the relationship to the algorithmic and tries to narrate it further. the format of presentation is a programmed communication system, a speech bot, which tries to involve the visitor in a conversation and create a transformed relationship through speech and speaking. Visitors are asked to choose their own mobile phone number and will then be connected to an algorithmic speech bot. Every conversation between visitors and the bot is stored in an archive and will be used to improve the vocabulary of the bot (as known from commercial customer conversations). Every visitor can decide whether to talk to the bot or to listen to prerecorded conversations from the archive.
“hello, you’re talking to a bot, a computer programmer pretending to be one. speak slowly and clearly so that the offered can understand you. in case of doubt, the bot will asking you for a repeat. everything you say is recorded and can be used for training and development purposes. now, are you ready to get involved in a situation in which your identity as a firmly believed identity, this thing that you call Me, become unstable? if you want to keep going. ….”
The installation consists of a comfortable beanbag and a prepared smartphone placed in the midst of a hybrid mixture of cables and electronic accessories as well as animal objects (a fox tail, a snake skin, chicken feathers, a sheep’s horn and a peacock feather). A fir-green wall stands for the artificial in our understanding of nature..
«become contagious symbiobot : reclaim the 12th camel» is a 20-minute, regularly repeating collective performance and installation. The course of the performance is divided into scenes performed by a multitude of bots and potential visitors..
The process is framed by a fictional encounter between a performer and Heinz von Foerster, in which an unsettled relationship is at stake: who shares with whom, the email credentials of the Google Nexus smartphone. In the course of the story, an animal borrowed from a story by Heinz von Förster is introduced into the plot. This animal,”the twelfth camel”, has special characteristics: it is a narrative and performance, text, image and program in one and leads the question of the division problem onto a new track. In the course of the performance, the performer goes through various transformations, from the writer to the speaker and finally to the visually transforming symbiotic camel hybrid bot: contagious symbiobot. A camera bot registers visitors and guides them to take over the performance and lend a voice to the speech bot. In the course of the transformations, the program interactions and the physical presence merge with each other. Could there be a language for physical integration into algorithmic environments? What could this language look like? “become contagious symbiobot: reclaim the 12th camel” proposes a contagious infection and ongoing transformation as a process of transformation from text to sign to image to narrative to animal to music as an organic-inorganic hybrid in transformation.
«unfolding agency: stategies of exscription #1» ist eine performative Aufführung in 5 Szenen, bei der es um das Verhältnis von Körper und Schrift geht. Ein Verhältnis, das im Zeitalter digitaler Medien ein strittiger Raum ist. Digitale Medien greifen immer stärker und unsichtbar in unser Leben ein – und das mit dem Versprechen auf Freiheit und Selbstbestim-mung und der impliziten Hoffnung auf das Delegieren von Mitbestimmung in den entkörperten Cyberspace. Die Arbeit geht von einer Textstelle von Jean-Luc Nancys Buch «Corpus» aus. Dieser Text wurde als Soundfile eingesprochen und kommt in dem Stück «unfolding agency: stategies of exscription #1» zur Neuaufführung. Ein Butoh-Tänzer steht mittig im Raum und steuert durch minimale körperliche Bewegungen eine maschinische Wiederaufführung der Audioaufnahme des Nancy-Textes, indem er über einen Bewegungssensor “ein-ge-lesen” wird. Ein maschinischer Textschreiber versucht, Laut für Laut dem körperlichen “Sprechen” zu folgen, so dass eine musikalische Komposition aus Zerrungen, Pausen, Lautverschiebungen und Stimmvariationen ensteht. Die geschriebenen Textzeichen überschreiben die Wände des verdunkelten und durch Scheinwerfer akzentuierten Raumes sowie den Tänzer/Performer und werden wiederum zur Quelle des Ein-Lesens durch eine Kamera. In der Aufführung geht es um den unsichtbaren, nicht-sprachlichen Zwischenraum zwischen Schreiben und Geschrieben-werden.
Die Performance besteht aus fünf Szenen
exscription vocabulary #1
scene 1: hold-interrupt / de-authenticate yourself / repeated deauthentication packet bursts to jam WiFi access points
scene 2: circle-invert / fly onionized / anonymize traffic with onion routing
scene 3: endure / thermal persistence / infrared cameras tracking living bodies
scene 4: stand-idle / uncloud the desire / ownCloud localizes data
scene 5: coincidentally-synchronous / infinitely foamy / tanzende Sterne gebären
Zürich Station 21. 10.4-16.5. 2015
paradise now 2.0 is a spacial audio-video-installation based on a historical film excerpt that questions the hierarchies of performativity and text culture. The artwork starts out with a historical perspective concerning a discourse on text and body within performance studies that is regarded as an area of social and political debate. Taking a film scene of the performance Paradise Now in the 1960s by the post-dramatic theatre group The Living Theatre as his point of origin, The work addresses issues on the current relationship of body and digital code. The body-centered performative practice of the 1960s marks a form of resistance as artistic expression in a time when ideas of autonomy, individuality and collectivity were newly formulated and have evolved to different contradictory meanings today. The installation paradise now 2.0, which incorporates the actual presence of its audience, explores the performance of text (code) and body (community) in its historical and current logic as well as its very relation.
chmod +x exscript body
Zürich Station 21. WHY I CHANGED MY NAME TO MARVIN GAYE. Von Zuschreibungen und Entschreibungen 7.11.2014
A human voice reads a short sections of Nancys Text “Corpus”. The Voice follows the text, automatically written in a Unix Shell Termial. The Voice stutters, hissis, hangs, sings and freezes. Sometimes it seems that the writing programm follows the speaker, somtimes it’s the other way round. Text, sound and technical objects in the space are part of the selfexecutable programm of “exscription”.
chmod +x is the Unix command that make it possible to change text into runnable code.
Promises of self-empowerment and participation are integral to digital media. It is not only since Edward Snowden’s disclosures that sharing has presented itself as something ambivalent: social networks have created the potential for democratic public opinion and at the same time greater surveillance. This space between sharing and being shared, in which the private is only generated through the public, is the focus of the workshop. Alexander Tuchaček, co-founder of media group Knowbotic Research, proposes a media communication structure in which decentralised forms of participation and withdrawal are tried out. In terms of discourse and performance, it is all or nothing: who shares with whom? Who decides the rules about how, when and what is shared? Are there scripts for the uncoded? Can sharing lead to involvement or participation? Who writes the guidelines?
lecture performance, herbst academy 2014, steirischer herbst
The twelfth camel is all at once, an image, a text and a program. The twelfth camel is a figure of thought, which oscillates between character, code and physicality. If you move closer, you notice readable ASCII characters that are part of a computer program, if you you go further away, you can see the picture of a camel. This camel is a special animal, a “performance” camel, it can run (as a program) and tell a story. The story is about the twelfth camel, that in some ways was necessary to help to devide the fortune under the three sons of the sheike when he died, but even it also was not necessary, as they afterwards returned it healthy and well fed to the Khadi.
the ascii image executes itselfe as unix shell code. While executing it decrypts itselfe (base64, gunzip) in a loop (for-done) and tells (echo) the story of the 12. camel word by word (read).
I owe the story Niklas Luhmann (Die Rückgabe des Zwölften Kamels: Niklas Luhmann in der Diskussion über Gerechtigkeit ).
osx version: copy to mac-osx terminal and press “return”:
for camel in $(echo ' H4sI CK MhvE0AA 3RleHQu dHh0AG2S MXLcMAxF e58CB9BoJs5MinSbIpM0 Kdyk 5oqQiCwF7pCUFXU+hn09ny Qf1GrdpK FmCAj//weelFL0tLKLNWx0Zp 8WUSqB5RJoza kyBSm0Sozk1JOXZ/Hs2+WYcl2 UO3IUXZ7QydlTG mlwM8eC+znp1FpryMxUkpaeTkOY2 Xe4Y+LouVQrd LQ69CUSxRiprTxKRjW4ONrYdnNonqLsIwoPCcbaiB LSgjgTV3ga05Jr6Ogb6x83i+7tW1p0ums6KvK3hp5+B9Z dw OHMyGkWF931XOW4UVIcHPkZrXtEgMtMmWcnKjp9 ZDMIkC8w6lFVQwalW4q5obS8rmLqwGjWClPoOm 8N2Bno4QO4vou6GDfwMYsQz1sNELOWC5NP655s o7pkxQQwtCCX4Lz09AMtPNjOvtL7y+tPWBiRDx igzG Zo3m 5penpim0FGP9HcKEcX2vahCFw F2J La95 pKkXPk95e3nn6lFf6kB vr0 eN++ mbDnUgR/WFh2ZTsQ0Z RqC 2rL 7ejL8RfW2k of 6/t 8H3 gs8th aR 493 5ycA F WA +Hl Zd OY7 w0+ pNP fII2 MAHk DKE HdmF r7Ut Y4QlQ 4uN3l 56cN erYOGZ/8f14e EfKSooKTsDAAA='\ |tr -d " "|base64 -D|gunzip);do read -sp "$camel " perform;done
linux version: copy to linux terminal:
for camel in $(echo ' H4sI CK MhvE0AA 3RleHQu dHh0AG2S MXLcMAxF e58CB9BoJs5MinSbIpM0 Kdyk 5oqQiCwF7pCUFXU+hn09ny Qf1GrdpK FmCAj//weelFL0tLKLNWx0Zp 8WUSqB5RJoza kyBSm0Sozk1JOXZ/Hs2+WYcl2 UO3IUXZ7QydlTG mlwM8eC+znp1FpryMxUkpaeTkOY2 Xe4Y+LouVQrd LQ69CUSxRiprTxKRjW4ONrYdnNonqLsIwoPCcbaiB LSgjgTV3ga05Jr6Ogb6x83i+7tW1p0ums6KvK3hp5+B9Z dw OHMyGkWF931XOW4UVIcHPkZrXtEgMtMmWcnKjp9 ZDMIkC8w6lFVQwalW4q5obS8rmLqwGjWClPoOm 8N2Bno4QO4vou6GDfwMYsQz1sNELOWC5NP655s o7pkxQQwtCCX4Lz09AMtPNjOvtL7y+tPWBiRDx igzG Zo3m 5penpim0FGP9HcKEcX2vahCFw F2J La95 pKkXPk95e3nn6lFf6kB vr0 eN++ mbDnUgR/WFh2ZTsQ0Z RqC 2rL 7ejL8RfW2k of 6/t 8H3 gs8th aR 493 5ycA F WA +Hl Zd OY7 w0+ pNP fII2 MAHk DKE HdmF r7Ut Y4QlQ 4uN3l 56cN erYOGZ/8f14e EfKSooKTsDAAA='\ |tr -d " "|base64 -d|gunzip);do read -sp "$camel " perform;done
Was the 12-camel needed and why was it necessary? If it was necessary to divide, was it afterwards no longer necessary? Does there have to be supplied a real camel and must it be fed and how does the 12th differ from the other eleven camels? What does the “telling” of the story? What are the consequences that these things that can “Kamelogramm”, the behavior, the coding hardly be returned?