ENTRANCE
ART-e-FACT, STRATEGIES OF RESISTANCE   ISSUE #03, TECHNOMYTHOLOGIES
 

ABOUT, EDITORIAL, REFERENCES, CONTACT
REPORTS  >>
GLOBAL+ MAP
LOOKING FOR A HUSBAND WITH AN EU PASSPORT BY TANJA OSTOJIC
ONLINE
Memory
Martin Bricelj


TRAVELOG

Gothenburg N.B.
Ralo Mayer and Philipp Haupt
The power & politics of information visualization.

Black Culture — White Nature
Rose Reitsamer
The musical traditions of white masculinity.

Allegories of Angelic Bodies
Mojca Puncer
Mind, body, cyborgs and angels in the land of new media technologies.

FEATURE AND WRITINGS
Dating, Relating and Performing inside the Internet
Helen Varley Jamieson


THEORY

Nostalgic Technology: Notes for an Off-modern Manifesto
Svetlana Boym
The aura of the error - the art of broken technology.

Dialoguing man and machine: Palindrome IMPG
pETER Purg
Bodies & space in a playground of people, words & numbers..


edit this banner
Lina Kovačević
Do-it-yourself online advertising.




ART WORK
SYSTEMS
ONLINE
Our Robot
Fundación Rodríguez


Our Robot
Fundación Rodríguez

The RODRIGUEZ FOUNDATION ROBOT (track no. 3).

1.
OUR ROBOT is not overly prone to talk about himself. He goes all quiet and distant when questions of identity come up, or if people start to speculate about what place the word “personality” takes within his operational system. We actually suspect that he has a private chuckle when talks take the direction of these subjects. And we are intrigued, or, to be more precise, worried about this matter.



2.
We are currently preparing a video.
Here is the description of the sequence we will produce for the purpose of the recordings, with the robot as the leading character.


Location undefined.


Let us imagine that we place some of the theories that have been used to justify theoretical approaches that emerge from the cybernetic fold into a Hessian bag. Donna Haraway’s cyborg theory might here take a forefront position in many of its possible interpretations and reinterpretations, along with some of the texts that have underpinned Stelarc’s work from reiterative and contradictory perspectives, or selected notes concerning experiments in genetic engineering and with a phosphorescent rabbit. We could also add certain Foucaultian notions of biopower, and various observations regarding the transition of post-fordism, as formulated by Tony Negri and Paolo Virno, when they point toward the thrusting power of a prosthetic and polymorphic information system. This cocktail could then be spiced with quotations from science fiction literature (Verne, Huxley, Asimov, Braxton…), along with examples of writing on art and technology that have appeared in catalogues and other publications over recent years. It is important that in such writings subliminal mention of the idea of the subliminal has appeared.


In addition, add some notes (droplets) about the purée that cyberpunk imaginary tends to serve up and garnish it all with Marxist titbits. The word “prosthesis” should appear at least three times.

Thoughts on multiculturalism, performance theory and on structural violence must also not be overlooked.


At a certain point, OUR ROBOT reaches with his cold hand the bottom of the bag, and with one swift energetic movement, pulls the bag inside out. All the theories get scattered over the floor, some of them clinging to the fabric of the bag, others carried away by the wind… There is a certain liberating aspect about this performance.


Confronted with all this information that is as torn, dispersed and fragmented as life itself, OUR ROBOT is thunderstruck (and registering this, we too are thunderstruck…). Faced with all these formulations about the technological artistic issue, the surprising reaction of OUR ROBOT is an attempt to liberate all the solemn discourses surrounding technological mythology, and this with one single act. And so, through this one action that nevertheless had to shoulder the whole unbearable weight of the hermetically closed, OUR ROBOT desired to free himself of something he has not yet managed to comprehend, although it is part of his raison d’être.


And this is the panorama we are left with:
OUR ROBOT is in a space that bears no resemblance whatsoever to the set from The Matrix, with a Hessian bag in his hand, still gripped at the base, and there are papers – lots of papers flying around



ONLINE
Our Robot
Fundación Rodríguez


It is the first act. OUR ROBOT is pensive. (And saying that OUR ROBOT is pensive makes us pensive as well…)
Fade-to-black.




ONLINE
Our Robot
Fundación Rodríguez



3.
We observe that OUR ROBOT is delighted to interpret this scene, because he “identifies” with the character. Perhaps this “feeling” of identification is what is the most attractive point, and it “integrates” him within a perceptive ambience he has not previously known.


Having received OUR ROBOT’s response, we are disturbed by the way in which he might process this experience, because we know we have opened up a new world for him, launching him on a journey of no return…


We are seriously considering not going ahead with this video project.



Fundación Rodriguez
Artistic collective from Basque region, Spain, active in Victoria
Gaistez and San Sebastian


Tester Project, initiated by Fundación Rodriguez, published in the book NODES AT WORK (Copyleft) www.e-tester.net



CONTENTS








ART WORK  >>
VIEW
Plasma by Stigmata
Tanja Vujinović and Zvonka Simčič
TECHNOLOGY REVISED

Our Robot
Fundación Rodriguez

Plasma by Stigmata
Tanja Vujinović and Zvonka Simčič

Rote Zora
Oliver Ressler

"I am a TV junkie" once said Everyman
David Kellner

Nostalgic Tech-nology: Notes for an Off-modern Manifesto
Svetlana Boym


ART WORK
SYSTEMS

TECHNOLOGY REVISED
 
TREMBLING MINDS / STRATEGICAL BONDAGE
 
WE COULD SURVIVE
 
TECHNOLOGY: PERFORMANCE: REFLECTION
 
CONTEXTUALIZATION OF EVENTS AND PRODUCTION
 
WWW FUCKED UP
 





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