Madi whwd

objectX.

The objectX is a single point prone to dissemination. Its surface blurs at the edges and has infinite tails, like those of a tadpole or comet that trail in every direction and gradually fade into phosphorescence, then nothingness. I would tell you it’s diameter, (when positioned at vanishing point, it appears spherical) but it mostly expresses outside properties obedient to outside laws. ObjectX is coloured beyond the spectrum of black, and when experienced without time shines gold. ObjectX is populated with rhizomatic rivulets of hot, ever-decaying Francium, rendering it uselessly fragile. From a human perspective, its body is terrestrially differentiated, but the dark side, the back side is celestially mattered. X viewed from the front at breakfast is a different X to that in profile at lunch. It demands redescription, eternally, and is only fixed for an attosecond through our optical fixedness.

X is an object of speculation, and has supposedly come to be through an entanglement of unforeen and unseeable forces. It makes itself manifest only through a naive and surprised vision of detail. It calls for a qualia extension to more readily include surprise and openness to the unassailable universe, it calls for an uncomfortable self positioning on a new threshold of unepistemology.

At the moment objectX is represented poorly in language. It could be pushed into the realm of video, sculpture, performance or silence.

Supraplanetary ecstacy.

This work includes video, performance and participation and works across multiple temporalities. It began 4.5 billion years ago and ends some time in the indiscernible future. The video component doubles as performance document. It is taken from a screen recording whilst the human-artist explores the globe through the google earth interface on her 21.5 inch 2.7 Gigaherz iMac desktop computer. The desktop computer was ‘assembled’ in the United States by materials manufactured and mined world wide. Tantalum, extracted primarily in the Congo from Coltan, is used to make tantalum capacitors, “passive” components that store energy electrostatically in an electric field. Through evolutionary creation of plant, animal and human that mines the earth from whence it came, the earth makes its will manifest through the deadening and deathly slavery of humanity. Finally in a moment of terestriocentric and aggressive ecstasy, the earth is enabled to view itself through eyes and machines created of it. Of what violent beauty is this cycle whose intention is towards supra planetary masturbation.

The work is situated amongst nihilist, post humanist, and post-post colonial discourses, and will be seen as a work of art only through a post-anthropocene lens. Nonetheless, conceptualizing this work now is problematic. Too often is post humanist discourse presented with disregard to very real human suffering, trivializing contemporary geo-political issues to the sideline, and made irrelevant to an ultimate inhuman trajectory. It posits the intellect over empathy for otherness, that can read as macho and arrogant. This work will be pushed further through the reconsideration of this issue, and perhaps implicit within this reconsideration, offer a feminist perspective of post humanism.

script.

∆ is performance with three characters. The set includes a blackboard and a hanging screen for projected imager, but can be performed anywhere. The characters are the thing-as-such, titled X, the apparatus, here named translator, and a historiographer, named Scribe. Throughout the performance, X remains silent and divides her time between walking the figure of infinity slowly, and programming specific video/sound/imagery that is projected on the screen. The next image/video/sound is loaded every time X crosses the mark X of infinity. Translator is also active, but instead of walking, positions it’s body in static poses that are held for counts of ten seconds. The translator watches both the movement of X the projected imagery, and tries to describe with utmost detail what it sees. Historiographer writes on a blackboard, asks rational and clear questions of the translator’s descriptions, before marking or inscribing the phenomena X into language, into something comfortable and interpretable. The performance presents a process of reification and linguistic colonization. It unfolds as an exploration, expedition, discovery and making manifest of the unknown. Ideally, the work will be viewed with some discomfort, raising questions tabour how we encounter the other.