Introduction

The concept behind our work is to build up research sequences under one common name, with each successive project in the chain of events being a continuation of the original impetus. The successive exhibitions are thus an autonomous and authorial development of the theme Beyond CODE & Time from Pavilion 0/4 in Venice. Thus, the cycle of exhibitions during the 8th Mediations Biennale Poland will deepen the thought from Venice, and further projects Thus, the cycle of exhibitions during the 8th Mediations Biennale Poland will deepen the thought from Venice, and further projects Conscious Crumbs in Gdańsk, On the 8th day man created machine. But he did not rest in Olsztyn Solaris_manipulations in Wroclaw and Errorrrrrrrrrrrrrrrrin in Poznań will be united by the common term EXIT CODE.

“Humanity has simultaneously opened two Pandora’s boxes,
one labeled genetic engineering, the other labeled knowledge engineering.”

Forsyth i Naylor (1985)

 

Just a few years ago, with the voyeuristic pride of the afflicted, we applauded the revelation of the discovery of the Anthropocene, the perfect name for the last epoch on earth, after which nothing will be left but a trace of its last inhabitants – humans – endowed with intelligence. Reflection, and perhaps perversely, rescue was brought by the unexpected Covid 2019 pandemic, which has already claimed 228 million lives, making us aware of the existence of parallel realities to which we have no keys, no access code. The fourth wave and successive mutations of the virus, seem to familiarize us with the neighborhood of an unpredictable and inorganic “intelligence”, covering the earth entirely, like the cytoplasm in Stanislaw Lem’s novel “Solaris”.

Collective intelligence, may include proto-intelligent subsystems combining to form the simplest kind of biointelligence. Individual human beings combine to create society and culture. The collective intelligence of homo sapiens on a global scale may consist of billions of individuals. If we consider individual neurons plus numerous other cells in the body, the collective intelligence reaches into the trillions. Societies of insects and bacteria also act collectively.

Similar to human intelligence, computers increasingly function like neural networks, but their ability is limited to performing programmed tasks and mathematical calculations. However, they do not understand the processes in which they are involved, and they have no intention or purpose for their actions. They therefore have no awareness of their existence. They lack reflective perception and are unable to ask the questions that their programmers can.”

Computers and their artificial intelligence are solitary entities, stimulated and sustained by human thought and will, that require instructions and codes to act alone, or in teams. Man is capable of creating codes, has done so for centuries from the most primitive, repetitive sounds, signs, to the most complex systems designed to camouflage the information being transmitted.

Unlike a scientist, the artist actually works outside of code. Most often, he creates a work of art while generating its code, which also becomes the content of the work. Code is not only a medium for conveying content, but most of all for discovering it and searching for the truth, which is the very presence of an image. The work becomes a fact, the concept of which is a process that requires intellectual and spiritual distance to discover its hitherto inaccessible significance in new contexts. Hacking the image code would open up access to the logos of the universe hidden in the work of art.

Hence the title of the project BEYOND CODE – on the autonomy of the creation of artwork and reality. We create, and in part we prophesize, guided by deep intuition and instinct, which have been shaped since the dawn of time in the memory of the genetic code.

“For now we see in a mirror dimly,
but then face to face.
Now I know in part;
then I shall know fully,
even as I have been fully known”.

1 Corinthians 13:12, ESV

The fact that I do not know what my work is about is its greatest wealth, a capital that allows me to reach beyond comprehension. Art is the search for the logos of the universe, of which we wish to be an immanent part, trying to transcend the limits of a time that does not exist outside of us.

Dr hab. Tomasz Wendland

is not only a slogan, in my opinion, as a computer game designer, programmer and, above all, an artist. It is a manifesto addressed to the creators of electronic art. The key here is the word beyond, because without it, we are left with only code – a soulless manifestation of ordinary craftsmanship – maybe complicated, maybe requiring years of study, but still only code. Code that is used by hundreds of thousands of people who dream of a career in the electronic art industry.

Open game engines (eg Unity) lowered the technological entry threshold for beginners and made it possible to work comfortably in small teams (or even alone), and a significant reduction or even elimination of license fees opened the way for anyone who wanted to try their hand at producing computer games. In the most popular digital computer game store – Steam, 7 games were released in 2004, in 2010 it was already 276 new games, and in 2020 – 10,263 games. The statistics for mobile games look even worse – currently, over a million titles (not counting applications) have been released on the AppStore, and up to 46,000 new games are released each month (September 2016). And all the time we are talking about only two stores.

The vast majority of computer games published today consists solely of the aforementioned craft work – code. They lack a vision, a deeper message, or even a manifestation of individual creativity (being only a reflection of each other). Is their gameplay any challenge? Probably yes, but not too big so that the client does not lose interest and give a negative assessment. Does the game have original mechanics? Usually not, because the customer might misunderstand it, consider it a designer’s error and give it a negative assessment. Does the game raise important social issues, refer to actual events or argue with philosophical currents, thematically or in plot? No, no and no – the risk of offending someone’s feelings and the omnipresent neutrality in the industry win over more serious, deeper topics.

This is what beyond is – reminding designers and artists of their responsibility not only towards their own creativity, but also towards history, the world and people. Artists do not live and work solely for themselves – by publishing their own works, they take the burden of responsibility for them on their shoulders. It must not be forgotten that every manifestation of creative activity (and especially popular electronic art) is only a Baudrillardian sign – an imitation of reality. Baudrillard even emphasizes the relationship between the digital code and the model of the genetic code of man – the recipient of digital art no longer looks at the pictures, but adheres to them, and the signs themselves are scattered and lost in the digital, indistinguishable circulation. The question remains legitimate – are we, artists and designers, contributing to blurring the boundaries between reality and its ecstatic imitation? This is what Beyond CODE is for me – a reflection on the artist’s place in creating reality and a message addressed to us – electronic art designers, to leave our own comfort zone, imposed on us by industry standards, market trends and recipients’ expectations.

To take responsibility.

To go beyond the code.

Marcin Makaj

Steven Shaviro’s the Universe of Things based on the story from the science fiction, written by of the very same title, discussed the tool-being which frames our cognition, which the speculative realism engages the assessment of the objective world. The Thing Universe is to provide the cognition of various materiality and objectivity as the way to examine the reality effect, and the human condition. It is rather to redeem the radicalism of art through the practice on the politico-aesthetic discursive potency in replacing the formal issue with the warning sign on the irreversible Anthropocene. Art can be a much more potent way in realizing realities, and at the same time a neo-materialism to concretizing objectivity as the autonomous, vibrant sublime entity. It is not to relativize subject and render the casual effect, the cognition of Kantian notion of the thing-in-itself in the deployed network of reality, time, and space.

The life of things as what Bruno Latour’s actant enters into the network in generating their potentiality and in revealing the secret the interiority. When the human uses anything, it becomes as Heidegger’s “the-thing-at-hand,” upon which the subject depends in co-existence. As the Jones’ novel, the mechanic fears the alien, threatening the very existence of the human. In other words, it is the situation of anthropocentrism decentered to turn to the thing, the inaccessible real quality that can still be approached closely.

The Thing Universe is a continuing effort of rendering aesthetic concepts in object-oriented-ontology and neo-materialism, which regards the object, is an autonomous entity, as a poetics assemblage, as in the exhibitions the System of Hyper Objects and The Dancing Architecture in 2019. To realize the universe of things, a de-centralized anthropocentrism is necessary. Here, two strategic considerations are necessary: first, the performativity of objects should invest in their vibrant living matters; secondly, the purity of objects cannot be contaminated from subjective experience. The Thing Universe is to reconfigure the coexistence of the reality, life, and the art praxis for the response of the historical aesthetic issues of the human condition. To present the object-oriented realism that is revolving around things, a distinct route of experiencing the desert of the real, as the singularities of flight must embark.

Within the exhibition the ecosophy of the reality in art is presented. Huang Xuan deconstructs the discursive practice of the linguistic in telling the purity of images, which in turn measures the cycle of signification. Lin Yi-Chun’s observatory, the high vantage point of seeing, is to link the mythic astrology and the ruling sovereignty. Cheng Hsiang-yu’s mediation of an aviation museum shows the modeling of weapons and the dynamicity and speed in art of wars. NANONANO’s project is to realize the liminality of urban development with the depleted resource at the end of history. Lin Pei-Ying’s work presents the symbiosis of the human and the virus, which left the trace of macrobiotic organism in the DNA. Yao Jui-Chung’s work evokes our memories of the “Tank Man” with a similar setting and four inflatable dummy tanks. It also deconstructs the significance as historic as stereotypical carried by the original image through absurd, nihilist game-playing. All together these works expose the reversal gaze to the image of the objective, in the receding disappearance of the human subject to measure the possible blue print for the apocalyptic moment to come.

Hongjohn Lin

 

“This lofty metaphysical delusion is inherent in scientific research and leads it over and over again to its limits, at which point it must turn itself into art, something which is really predictable in this mechanical process.” 

(Friedrich Nietzsche: The Birth of Tragedy from the Spirit of Music)¹

 

Prolog

At the beginning of the 21st century, humanity is faced with an unprecedented flood of data fed via mass and social media, which is increasingly being generated by algorithms, artificial intelligence and “big data”. At the same time, a new, seemingly inexhaustible cosmos is opening up for the creative spirit, but it also raises questions.

Will the art process in the future still be tied exclusively to imagination and interpretation by the artists themselves? How and in what way does our body and our mental state interact in the constant alternation between virtual and real space? At least the question of the artistic originality of the works shown here can be answered in the affirmative, despite the technical conversion to NFT formats.

The title of the project “Beyond Time” was an allusion to the literary works of the authors Martin Bojowald and Cixin Liu, who – each in their own way – unfold the history of the universe and the future of mankind.2, 3

 

“Hasn’t time time?”

(Friedrich Nietzsche: Die Fröhliche Wissenschaft)

The Beyond Time project sees itself as a digital research medium and instrument to create sensory theses and sensitivities about being human from unusual perspectives in the border area of science, philosophy and speculation and thus activate inaccessible areas of perception and consciousness.

Caroline Welsh and Stefan Willer define art and science as two existing knowledge cultures that are mutually dependent. According to them, art is related to science and vice versa according to the rules of a mathematical set. Agreements are possible and differentiations are necessary at the same time.4 A logical artistic strategy that the project pays special attention to is “The Experiment in Contemporary Art” (discussed in detail in the book by Nicole Vennemann, published in 2018).5

Beyond Time is therefore primarily a compilation of works with an experimental-exploratory character, the spectrum of which includes post-surrealist paintings, iconographic photography and performative video acts as well as their post-futuristic expansion into or via internet in the form of a wide variety of memes, generative works , AI Art and of course NFT‘s.

When asked about the distinction between mere data visualization and intelligent algorithms that generate their almost hypnotic aesthetics from data, Refik Anadol, for example, uses metaphors such as memory, dreams, and hallucination as essential concepts of being human in the 21st century. “I have the feeling that human cognitive abilities, such as remembering, dreaming or even the learning process, are incredibly important in the discussion about intelligent algorithms.”6

On the other hand, the Dutch-Australian media scholar and net activist Geert Lovink questions information societies: how can we move from data to Dada and become a 21st century avant-garde that genuinely understands the technological imperative and shows that we are the social media in the social media? How do we develop and scale critical concepts, bringing together politics and aesthetics in a way that resonates with millions online?7

After all, artists such as Auriea Harvey, with VR-based crypto art, or Urs Fischer, who also uses characteristic meme montage techniques to develop NFT‘s 8 , are successful communicators in the image world of the Internet even without image-text strategies. “

Beyond Time” enables virtual and real visitors to the project to gain insights into the transformation of everyday social reality into an essentially subversive and unashamedly beautiful language of art”.

The project uses less energy-intensive variants of blockchain technology and, by making the works available as NFT‘s, initiates location- and time-independent access to the pool of current, experimental art happenings worldwide.

Harro Schmidt

____________________________________

1 Friedrich Nietzsche: The Birth of Tragedy from the Spirit of Music, page 42, english version translated from German „Dieser erhabene metaphysische Wahn ist als Instinkt der Wissenschaft beigegeben und führt sie immer wieder zu ihren Grenzen, an denen sie in Kunst umschlagen muss: auf welche es eigentlich bei diesem Mechanismus, abgesehen ist.“ (Nietzsche, Friedrich: „Die Geburt Der Tragdie: Oder Griechentum Und Pessimismus“; Berliner Ausg., 2016, 4. Aufl., S. 61f., ISBN 978-1484049518)
2 Bojowald, Martin: „Zurück vor den Urknall – die ganze Geschichte des Universums“, S. Fischer Verlag, 2009, ISBN 978-3-10-003910-1
3 Liu, Cixin: „Jenseits der Zeit“ Bd.3 der Si-Fi-Trilogie „Trisolaris“, Wilhelm Heyne Verlag 4/2019, ISBN 978-3-453-31766-6
4 Welsh, Caroline / Willer, Stefan: »Einleitung: Die wechselseitige Bedingtheit der Wissenskulturen – ein Gegenentwurf zur Trennungsgeschichte«, in: Caroline Welsh/ Stefan Willer (Hg.), Interesse für bedingtes Wissen. Wechselbeziehungen zwischen den Wissenskulturen, München 2008, S. 9-20.
5 Vennemann Nicole: „Das Experiment in der zeitgenössischen Kunst-initiierte Ereignisse als Form der künstlerischen Forschung“, Dezember 2018, 286 S., kart. ISBN 978-3-8376-4624-5; E-Book:PDF: ISBN 978-3-8394-4624-9
6 Scorzin, Pamela C.: „Daten als Pigment“, Kunstforum Intertnational, Bd. 278; S. 166
7 Zaremba, Jutta: „Meme-Manifeste“, Kunstforum International, Bd. 279, S. 128
8 Zybok, Oliver: „Memes – Ursprünge und Gegenwart“, Kunstforum International Bd. 279, S. 79

 

Poza KODEM to poszukiwanie miejsca sztuki i jej roli we współczesnej rzeczywistości.

 

„Ludzkość otworzyła jednocześnie dwie skrzynki Pandory,
jedną oznaczoną inżynierią genetyczną, drugą oznaczoną inżynierią wiedzy”.

Forsyth i Naylor (1985)

 

Jeszcze kilka lat temu, z wojerystyczną dumą utracjuszy, przyklaskiwaliśmy rewelacji odkrycia Antropocenu, idealnej nazwy dla ostatniej epoki na ziemi, po której nic już nie zostanie, poza śladem obdarzonych inteligencją jej ostatnich mieszkanców – ludzi. Refleksję, a może i przewrotnie ratunek przyniosła nieoczekiwana pandemia Covid 2019, która pochłonęła już 228 milionów istnień, uświadamiając nam istnienie rzeczywistości równoległych, do których nie mamy kluczy, żadnego kodu dostępu. Czwarta fala i kolejne mutacje wirusa, wydają się oswajać nas
z sąsiedztwem nieprzewidywalnej i nieorganicznej „inteligencji”, pokrywającej w całości ziemię, podobnie jak cytoplazma w powieści Stanisława Lema „Solaris”.

Inteligencja zbiorowa, może obejmować podsystemy proto-inteligentne łączące się w najprostszy rodzaj biointeligencji. Pojedyncze istoty ludzkie łączą się w celu stworzenia społeczeństwa i kultury. Inteligencja zbiorowa homo sapiens w skali globalnej może składać się z miliardów jednostek. Jeśli pod uwagę weźmiemy pojedyncze neurony plus liczne inne komórki ciała, inteligencja zbiorowa sięga bilionów. Społeczeństwa owadów i bakterii też działają zespołowo.

W podobieństwie do ludzkiej inteligencji, komputery coraz częściej działają podobnie jak sieci neuronowe, jednak ich zdolność ogranicza się do wykonywania zaprogramowanych zadań i obliczeń matematycznych. Nie rozumieją one jednak procesów, w które są zaangażowane, nie posiadają intencji ani celu swojego działania. Nie mają zatem świadomości własnego istnienia. Brakuje im refleksyjnej percepcji i nie są w stanie zadawać pytań, które ich programiści potrafią.

Komputery i ich sztuczna inteligencja to samotne byty, stymulowane i podtrzymywane myślą i wolą człowieka, które wymagają instrukcji i kodów by działać w pojedynkę, lub zespołowo. Człowiek jest w stanie tworzyć kody, czyni to od wieków, od najprymitywniejszych, powtarzalnych dźwięków i znaków do najbardziej skomplikowanych systemów, których zadaniem jest kamuflaż przekazywanych informacji.

W odróżnieniu od naukowca, artysta działa właściwie poza kodem. Najczęściej tworzy dzieło generując jednocześnie jego kod, który też staje się treścią dzieła. Kod jest nie tylko medium przekazywania treści, ale przede wszystkim jej odkrywania i poszukiwania prawdy, jaką jest sama obecność obrazu. Dzieło staje się faktem, którego pojęcie jest procesem wymagającym intelektualnego i duchowego dystansu, by w nowych kontekstach odkrywać jego dotychczas niedostępną istotność. Zhakowanie kodu obrazu otwierałoby dostęp do logosu wszechświata ukrytego w dziele sztuki.

Stąd tytuł projektu POZA KODEM – o autonomiczności kreacji dzieła i rzeczywistości. Tworzymy, a po części prorokujemy, wiedzeni głęboką intuicją i instynktem, które kształtowały się od zarania dziejów w pamięci kodu genetycznego.

„Teraz widzimy jakby w zwierciadle, niejasno;
wtedy zaś [zobaczymy] twarzą w twarz:
Teraz poznaję po części,
wtedy zaś poznam tak,
jak i zostałem poznany”.

1 Kor 13,1-8.13, Biblia

To, że nie wiem o czym jest moje dzieło, jest największym jego bogactwem, kapitałem, który pozwala mi sięgać poza pojmowanie. Sztuka to poszukiwanie logosu wszechświata, którego pragniemy być immanentą częścią, próbując przekroczyć granice czasu, którego poza nami nie ma.

Dr hab. Tomasz Wendland

nie jest wyłącznie hasłem, w mojej ocenie, jako projektanta gier komputerowych, programisty i przede wszystkim artysty. Jest on manifestem skierowanym do twórców sztuki elektronicznej. Kluczowe jest tu słowo beyond, bowiem bez niego zostaje nam wyłącznie kod – bezduszny przejaw zwykłej rzemieślniczej pracy – może i skomplikowany, może i wymagający lat nauki, ale wciąż tylko kod. Kod, który jest wykorzystywany przez setki tysięcy ludzi, którzy marzą o karierze w branży sztuki elektronicznej.

Otwarte silniki gier (np. Unity) obniżyły technologiczny próg wejścia dla osób początkujących i umożliwiły komfortową pracę w niewielkich zespołach (lub nawet w pojedynkę), a znaczne obniżenie, lub wręcz zniwelowanie opłat licencyjnych otworzyło drogę każdemu chcącemu spróbować swoich sił w produkcji gier komputerowych. W najbardziej popularnym cyfrowym sklepie z grami komputerowymi – Steam, w 2004 roku wydano 7 gier, w 2010 było to już 276 nowych tytułów, a w 2020 – 10 263 gry. Jeszcze gorzej wyglądają statystyki dla gier mobilnych – obecnie na AppStore wydano już ponad milion tytułów (nie licząc aplikacji), a każdego miesiąca wypuszcza się nawet 46 tysięcy nowych gier (wrzesień 2016). A cały czas mowa o dwóch tylko sklepach.

Zdecydowana większość wydawanych współcześnie gier komputerowych składa się wyłącznie z tej wspomnianej już, rzemieślniczej pracy – z kodu. Brak w nich wizji, głębszego przesłania, czy choćby przejawu indywidualnej twórczości (będąc wyłącznie odbiciem siebie nawzajem). Czy ich rozgrywka stanowi jakiekolwiek wyzwanie? Prawdopodobnie tak, ale niezbyt wielkie, żeby klient nie stracił zainteresowania i nie wystawił negatywnej oceny. Czy gra posiada oryginalne mechaniki? Zazwyczaj nie, ponieważ klient mógłby je opacznie zrozumieć, uznać za błąd projektanta i wystawić negatywną ocenę. Czy tematycznie lub fabularnie gra podnosi ważne społecznie kwestie, nawiązuje do faktycznych wydarzeń, bądź polemizuje z nurtami filozoficznymi? Nie, nie i nie – ryzyko obrażenia czyiś uczuć i wszechobecna w branży neutralność wygrywają z poważniejszymi, głębszymi tematami.

I tym właśnie jest beyond – przypomnieniem projektantom i artystom o ciążącej na nich odpowiedzialności, nie tylko wobec własnej twórczości, lecz również wobec historii, świata i ludzi. Artyści bowiem, nie żyją i nie pracują wyłącznie dla siebie – upubliczniając własne dzieła, biorą na swe barki ciężar odpowiedzialności za nie. Nie można zapominać, iż każdy przejaw działalności twórczej (a szczególnie popularnej sztuki elektronicznej), jest wyłącznie baudrillardowskim znakiem – pozorowaniem rzeczywistości. Baudrillard akcentuje wręcz związek kodu cyfrowego i modelu kodu genetycznego człowieka – odbiorca sztuki cyfrowej nie patrzy już na obrazy, lecz przylega do nich, a same znaki zostają rozproszone i zagubione w cyfrowej nierozróżnialnej cyrkulacji. Zasadnym pozostaje więc pytanie – czy my, artyści i projektanci przyczyniamy się do zacierania granic pomiędzy rzeczywistością, a jej ekstatyczną imitacją?

Tym właśnie jest dla mnie Beyond CODE – refleksją nad miejscem artysty w kreowaniu rzeczywistości i przesłaniem skierowanym do nas – projektantów sztuki elektronicznej, aby opuścić własną strefę komfortu, narzucaną nam przez branżowe standardy, rynkowe trendy i oczekiwania odbiorców.

Żeby wziąć na siebie odpowiedzialność.

Żeby wyjść poza kod.

Marcin Makaj

Beyond Time

 

“This lofty metaphysical delusion is inherent in scientific research and leads it over and over again to its limits, at which point it must turn itself into art, something which is really predictable in this mechanical process.”  (Friedrich Nietzsche: The Birth of Tragedy from the Spirit of Music)¹

Prolog

At the beginning of the 21st century, humanity is faced with an unprecedented flood of data fed via mass and social media, which is increasingly being generated by algorithms, artificial intelligence and “big data”. At the same time, a new, seemingly inexhaustible cosmos is opening up for the creative spirit, but it also raises questions.

Will the art process in the future still be tied exclusively to imagination and interpretation by the artists themselves? How and in what way does our body and our mental state interact in the constant alternation between virtual and real space? At least the question of the artistic originality of the works shown here can be answered in the affirmative, despite the technical conversion to NFT formats.

The title of the project “Beyond Time” was an allusion to the literary works of the authors Martin Bojowald and Cixin Liu, who – each in their own way – unfold the history of the universe and the future of mankind.2, 3

 

“Hasn’t time time?”

(Friedrich Nietzsche: Die Fröhliche Wissenschaft)

The Beyond Time project sees itself as a digital research medium and instrument to create sensory theses and sensitivities about being human from unusual perspectives in the border area of science, philosophy and speculation and thus activate inaccessible areas of perception and consciousness.

Caroline Welsh and Stefan Willer define art and science as two existing knowledge cultures that are mutually dependent. According to them, art is related to science and vice versa according to the rules of a mathematical set. Agreements are possible and differentiations are necessary at the same time.4 A logical artistic strategy that the project pays special attention to is “The Experiment in Contemporary Art” (discussed in detail in the book by Nicole Vennemann, published in 2018).5

Beyond Time is therefore primarily a compilation of works with an experimental-exploratory character, the spectrum of which includes post-surrealist paintings, iconographic photography and performative video acts as well as their post-futuristic expansion into or via internet in the form of a wide variety of memes, generative works , AI Art and of course NFT‘s.

When asked about the distinction between mere data visualization and intelligent algorithms that generate their almost hypnotic aesthetics from data, Refik Anadol, for example, uses metaphors such as memory, dreams, and hallucination as essential concepts of being human in the 21st century. “I have the feeling that human cognitive abilities, such as remembering, dreaming or even the learning process, are incredibly important in the discussion about intelligent algorithms.”6

On the other hand, the Dutch-Australian media scholar and net activist Geert Lovink questions information societies: how can we move from data to Dada and become a 21st century avant-garde that genuinely understands the technological imperative and shows that we are the social media in the social media? How do we develop and scale critical concepts, bringing together politics and aesthetics in a way that resonates with millions online?7

After all, artists such as Auriea Harvey, with VR-based crypto art, or Urs Fischer, who also uses characteristic meme montage techniques to develop NFT‘s 8 , are successful communicators in the image world of the Internet even without image-text strategies. “

Beyond Time” enables virtual and real visitors to the project to gain insights into the transformation of everyday social reality into an essentially subversive and unashamedly beautiful language of art”.

The project uses less energy-intensive variants of blockchain technology and, by making the works available as NFT‘s, initiates location- and time-independent access to the pool of current, experimental art happenings worldwide.

____________________________________

1 Friedrich Nietzsche: The Birth of Tragedy from the Spirit of Music, page 42, english version translated from German „Dieser erhabene metaphysische Wahn ist als Instinkt der Wissenschaft beigegeben und führt sie immer wieder zu ihren Grenzen, an denen sie in Kunst umschlagen muss: auf welche es eigentlich bei diesem Mechanismus, abgesehen ist.“ (Nietzsche, Friedrich: „Die Geburt Der Tragdie: Oder Griechentum Und Pessimismus“; Berliner Ausg., 2016, 4. Aufl., S. 61f., ISBN 978-1484049518)
2 Bojowald, Martin: „Zurück vor den Urknall – die ganze Geschichte des Universums“, S. Fischer Verlag, 2009, ISBN 978-3-10-003910-1
3 Liu, Cixin: „Jenseits der Zeit“ Bd.3 der Si-Fi-Trilogie „Trisolaris“, Wilhelm Heyne Verlag 4/2019, ISBN 978-3-453-31766-6
4 Welsh, Caroline / Willer, Stefan: »Einleitung: Die wechselseitige Bedingtheit der Wissenskulturen – ein Gegenentwurf zur Trennungsgeschichte«, in: Caroline Welsh/ Stefan Willer (Hg.), Interesse für bedingtes Wissen. Wechselbeziehungen zwischen den Wissenskulturen, München 2008, S. 9-20.
5 Vennemann Nicole: „Das Experiment in der zeitgenössischen Kunst-initiierte Ereignisse als Form der künstlerischen Forschung“, Dezember 2018, 286 S., kart. ISBN 978-3-8376-4624-5; E-Book:PDF: ISBN 978-3-8394-4624-9
6 Scorzin, Pamela C.: „Daten als Pigment“, Kunstforum Intertnational, Bd. 278; S. 166
7 Zaremba, Jutta: „Meme-Manifeste“, Kunstforum International, Bd. 279, S. 128
8 Zybok, Oliver: „Memes – Ursprünge und Gegenwart“, Kunstforum International Bd. 279, S. 79

EXIT CODE - 8 Mediations Biennale Polska - Gdańsk

 jest kontynuacją badawczą projektu: Beyond CODE and TimePavilion 0/4 – Venice

Beyond Time

 

“This lofty metaphysical delusion is inherent in scientific research and leads it over and over again to its limits, at which point it must turn itself into art, something which is really predictable in this mechanical process.”  (Friedrich Nietzsche: The Birth of Tragedy from the Spirit of Music)¹

Prolog

At the beginning of the 21st century, humanity is faced with an unprecedented flood of data fed via mass and social media, which is increasingly being generated by algorithms, artificial intelligence and “big data”. At the same time, a new, seemingly inexhaustible cosmos is opening up for the creative spirit, but it also raises questions.

Will the art process in the future still be tied exclusively to imagination and interpretation by the artists themselves? How and in what way does our body and our mental state interact in the constant alternation between virtual and real space? At least the question of the artistic originality of the works shown here can be answered in the affirmative, despite the technical conversion to NFT formats.

The title of the project “Beyond Time” was an allusion to the literary works of the authors Martin Bojowald and Cixin Liu, who – each in their own way – unfold the history of the universe and the future of mankind.2, 3

 

“Hasn’t time time?”

(Friedrich Nietzsche: Die Fröhliche Wissenschaft)

The Beyond Time project sees itself as a digital research medium and instrument to create sensory theses and sensitivities about being human from unusual perspectives in the border area of science, philosophy and speculation and thus activate inaccessible areas of perception and consciousness.

Caroline Welsh and Stefan Willer define art and science as two existing knowledge cultures that are mutually dependent. According to them, art is related to science and vice versa according to the rules of a mathematical set. Agreements are possible and differentiations are necessary at the same time.4 A logical artistic strategy that the project pays special attention to is “The Experiment in Contemporary Art” (discussed in detail in the book by Nicole Vennemann, published in 2018).5

Beyond Time is therefore primarily a compilation of works with an experimental-exploratory character, the spectrum of which includes post-surrealist paintings, iconographic photography and performative video acts as well as their post-futuristic expansion into or via internet in the form of a wide variety of memes, generative works , AI Art and of course NFT‘s.

When asked about the distinction between mere data visualization and intelligent algorithms that generate their almost hypnotic aesthetics from data, Refik Anadol, for example, uses metaphors such as memory, dreams, and hallucination as essential concepts of being human in the 21st century. “I have the feeling that human cognitive abilities, such as remembering, dreaming or even the learning process, are incredibly important in the discussion about intelligent algorithms.”6

On the other hand, the Dutch-Australian media scholar and net activist Geert Lovink questions information societies: how can we move from data to Dada and become a 21st century avant-garde that genuinely understands the technological imperative and shows that we are the social media in the social media? How do we develop and scale critical concepts, bringing together politics and aesthetics in a way that resonates with millions online?7

After all, artists such as Auriea Harvey, with VR-based crypto art, or Urs Fischer, who also uses characteristic meme montage techniques to develop NFT‘s 8 , are successful communicators in the image world of the Internet even without image-text strategies. “

Beyond Time” enables virtual and real visitors to the project to gain insights into the transformation of everyday social reality into an essentially subversive and unashamedly beautiful language of art”.

The project uses less energy-intensive variants of blockchain technology and, by making the works available as NFT‘s, initiates location- and time-independent access to the pool of current, experimental art happenings worldwide.

____________________________________

1 Friedrich Nietzsche: The Birth of Tragedy from the Spirit of Music, page 42, english version translated from German „Dieser erhabene metaphysische Wahn ist als Instinkt der Wissenschaft beigegeben und führt sie immer wieder zu ihren Grenzen, an denen sie in Kunst umschlagen muss: auf welche es eigentlich bei diesem Mechanismus, abgesehen ist.“ (Nietzsche, Friedrich: „Die Geburt Der Tragdie: Oder Griechentum Und Pessimismus“; Berliner Ausg., 2016, 4. Aufl., S. 61f., ISBN 978-1484049518)
2 Bojowald, Martin: „Zurück vor den Urknall – die ganze Geschichte des Universums“, S. Fischer Verlag, 2009, ISBN 978-3-10-003910-1
3 Liu, Cixin: „Jenseits der Zeit“ Bd.3 der Si-Fi-Trilogie „Trisolaris“, Wilhelm Heyne Verlag 4/2019, ISBN 978-3-453-31766-6
4 Welsh, Caroline / Willer, Stefan: »Einleitung: Die wechselseitige Bedingtheit der Wissenskulturen – ein Gegenentwurf zur Trennungsgeschichte«, in: Caroline Welsh/ Stefan Willer (Hg.), Interesse für bedingtes Wissen. Wechselbeziehungen zwischen den Wissenskulturen, München 2008, S. 9-20.
5 Vennemann Nicole: „Das Experiment in der zeitgenössischen Kunst-initiierte Ereignisse als Form der künstlerischen Forschung“, Dezember 2018, 286 S., kart. ISBN 978-3-8376-4624-5; E-Book:PDF: ISBN 978-3-8394-4624-9
6 Scorzin, Pamela C.: „Daten als Pigment“, Kunstforum Intertnational, Bd. 278; S. 166
7 Zaremba, Jutta: „Meme-Manifeste“, Kunstforum International, Bd. 279, S. 128
8 Zybok, Oliver: „Memes – Ursprünge und Gegenwart“, Kunstforum International Bd. 279, S. 79

czytaj: Beyond Time zwiń tekst

„W ósmym dniu człowiek stworzył maszynę. Ale nie odpoczął” - Olsztyn

16.10.-16.12.2022 BWA Olsztyn

współpraca: Athens Digital Arts Festival (ADAF),

kuratorzy: Ilias Chatzichristodoulou, Tomasz Wendland,

Solaris_manipulacje - Wrocław

wernisaż 8.11.2022 g. 18.00

8.11–30.11 Galeria Grafiki Uniwersytetu SWPS

miejsce: Uniwersytet SWPS, ul. Ostrowskiego 30b Wrocław

kuratorzy: Sławek Decyk, Michał Jakubowicz

Polski Teatr Tańca - Errorrrrrrrr - Poznań

Muzyka - Obraz Ruchomy - Taniec

współpraca: Akademia Muzyczna w Poznaniu.

kuratorzy: Weiming Ho, Harro Schmidt, Michał Janocha, Anna Kołacka.

EXIT CODE

8 Mediatons Biennale Polska

2022

Sławomir Decyk

ur. w 1968 roku, mieszka i pracuje w Poznaniu. Od 2002 roku jest pracownikiem Wydziału Fotografii UAP. Zajmuje się szeroko rozumianym zjawiskiem fotografii, instalacją oraz obrazem ruchomym. Refleksyjną postawę jego działań twórczych cechuje konfrontacja zapomnianych lub pomijanych metod obrazowania z aktualną praktyką doświadczania medium, definiowanie granicznych obszarów fotografii (w szczególności tych określanych jako postmedialne), poszukiwanie nowych środków wyrazu i narzędzi pozwalających przekroczyć własną wyobraźnię. Jest współtwórcą Solarigrafii i autorem unikalnej serii Cyklografii. Brał udział w ponad 70 wystawach w Polsce i za granicą, między innymi: Wielkiej Brytanii, Australii, Chinach, Hiszpanii, Kanadzie, Niemczech, Słowacji. Od roku 2020 prowadzi Pracownię Fotografii Eksperymentalnej na Wydziale Fotografii Uniwersytetu Artystycznego im. M. Abakanowicz w Poznaniu.