Unit 2

Here we are, at the end of the course. This post will try to summarise the development of my practice-based research over the two years.

 

unit2

 

 

Looking at my first proposal I have to say I’m satisfied with both what I kept and what I put aside.

The working title was ‘The real world isn’t real at all’ and I guess it was as a short statement for what I later developed in the research paper last autumn. It focused on the disillusion in separating the concepts of ‘physical’ and ‘virtual’, while affirming how the first is as much ‘real’ as the second, but it also underlined my dedication in blurring the lines between the two.

Playing with ‘reality’ is a recurrent habit of mine, I’m not sure how effective for most of the times but I’d say it definitely appears as a leading theme. This could be seen in the live music selection I did for the interim show, playing with the synthetic voice of a Vocaloid avatar, or in staging a disrupted database of a fictional Ukrainian city.

What is ‘real’ if not just the perception you have of yourself and what surrounds you? There is no truth, just versions.

 

 

In my first proposal I also mentioned to ‘investigate new forms of social relations’. In terms of relationships this master has been great. I definitely met some amazing artists and built great friendships. Which is fundamental to establish, expand and evolve networks based on sharing knowledge.

Also because of creative networks, I ended up being part of a marathon at the Serpentine Gallery with some fantastic people interested in the most social aspects of collaboration, a great thing (still can’t understand how that happened though).

Cool, this post is starting to sound like the diary of a teenager so I’ll just stop before posting a picture of a unicorn and try to move on some more constructed reflections.

 

Thinking of social aspects, networks and collaborative practice, I have to mention the main project I did in the first year of the course: the Blob Village live set with Jack. It was incredible how quick something like this can ‘click’; a few chats and beers, an email to my homeland/colony/tribe/best place in the world (cox18) and we ended up doing a 2hours long visual live set with an interesting take on a ‘common ground’–relationship with technology, re-tribalisation, underground culture. I’d like to extend that same approach in the future to a project started months ago with some friends from the course, Phisherman’s Net, still an embryo of a possible successful collective (and main big thing to focus on after the course).

I also related my work as much as possible with ‘communities’: both using content from internet places important to me in social terms, but also experimenting on social interactions – remember Isabbel?

This is why what I do finds its roots in subcultures before growing in many directions.

I’ve always been concerned about knowledge-sharing and how the access to information in contemporaneity can be seen (and in some ways has to be) as the best tool in human history. It has its many downsides in being overwhelming and a source of collective anxiety. From a creative perspective it offers tools to generate something new out of pre-existent material, which opens questions of authorship and ethics, besides having to face obsolete structures and systems. A transformation of pre-existent material has been the method I employed in my whole research, but I believe is best expressed in the final piece.

My focus has moved towards transforming content from places on the Internet that had a relevance for me: databases of communities related to underground cultures such as sound libraries for (mainly ‘bedroom’) music makers, MIDI files of guitar solos, Death Metal lyrics, cinematic-style special FX tutorials.

I’ve reshaped all of this first into a series of sketches from found tribal tattoos, then into an organic stage for a performance, a living being named FAT UR BREED MACHINE with a (cyber)punk heritage.

I think of these mutating forms even applied on collaborative entities, collective groups or platforms; another way to interpret the idea of ‘machine’, constantly recombining its elements – like a morpho-genetic evolution…

 

 

And where does the newborn go from here? The net is vast and infinite.

Major Motoko Kusanagi, Ghost in the Shell

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