sábado, janeiro 25, 2014

thoughts on a performance that involved a #drone

The Living Drones

Joshua Rutter performs on an empty space in a duel between man and a machine triggered by man (I and II). In this seemingly harmless duet both objects relate to one another in the same space and time, how does one survives the other?
The answer remains, in all its layers and meanings, unclear…

The intrinsically connected presence of failure and randomness connected with man powered machines, [here] established the condition of human movement and action, making the set-up work as a place of a battle, which can be directly connected to the art making process and that in this man-powered-solo empowered the object with blood on his veins and impossible to switch off by a slight touch on a screen.

Whilst repeatedly trying to negotiate humanity with technological devices both transform into one, balancing the space between them on a ‘keep the distance’ basis and, by defining that as a conversational mode, the implicit relative position is one that raises awareness for an unclear or undefined political statement – said by the author himself – that, in fact, can be also further brought into a more deep discussion of where do we place ourselves in this era of multiplied surveillance where, silently, machines are programmed to access and monitor also ‘non-connected’ computers (NSA)...

Either it is by triggering a semi-self-controlled device or setting-off an indestructible electronic alarm Joshua Rutter frames this performance in a non-technological/political issue but rather on a human integrity duality where the curiosity and individuality remain in a tense correlation that spreads and multiplies through embodied connectedness: man-machine-man; think of it as a triangle.

The answer might not be answered by giving clear political statements, but the questions arise when facing this intersection between playgrounds, battle of field and art creation itself. By defining a point as a result of this intersection the possibilities of analyzing relative positions of the body towards, both ‘manned’ and ‘unmanned’, moving objects could make the project take-off on investigating further the already present tension. A tension that instead of asking about survival asks more about position, whether it is physical, social and/or political.

D.P.

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