• MindMachineMakingMyths / LAB M4-Bangkok

    Lab M4 (MindMachineMakingMyths) / Bangkok, "Although in Hapnea."
    bangkok THAILAND

    . . . It’ s about . . . to produce a shelter which produces a movie and the movie at the origin of a shelter / . . . as a Siamese twin interlaced production, between narration and topology, able to cross fabrication expertise and knowledge to create the condition of a passage, for a navigation between allusive realism and speculative fiction. . . .

    *photo: Lab M4 (MindMachineMakingMyths) . . . / Bangkok, “Although in Hapnea.”

    . . . It’ s about . . . to produce a shelter which produces a movie and the movie at the origin of a shelter / . . . as a Siamese twin interlaced production, between narration and topology, able to cross fabrication expertise and knowledge to create the condition of a passage, for a navigation between allusive realism and speculative fiction. . . . intertwined, interlocked as a story telling developing two collateral effects, two artifacts: one by the potential to develop a fiction using an emerging structure as a by-product, and the other on the tangible and tactile world by shaping an emergence which will “construct” the “raison d’être” of the story. The relationship, the permanent flux between the architecture becoming a Prop of another production, in another discipline, and its own real and fictional footprint (un)resisting to its own erosion produces an indistinguishable transitory and transactional process of a Siamese dialogue . . . where the two are slippering in an osmotic, a symbiotic stuttering . . . (schizoid protocols within miscibility and autonomy . . .), at the base of the birth of some twinned fictional identities. . . .

    Through Mythomania of each situation, of each characters . . . transforming environments with their para-psyches, confusing from kind of Plato’ grotto, trajectories, lines of fiction and physicality. The architecture fragments (as a Mondrian fragments) is becoming the cartography of their mind from where they could accept the shifting, the drifting. . . . As a receptacle of their paranoia, but in the simultaneously as a vector, a shelter of their emotions.

    Reprogramming architecture with psychism. . . . fear and emotions, relationship aesthetic and ‘mise en abime’ / placed into abyss.

    . . . to share this schizoid goal . . . storytelling and fabrication but also to create a laboratory, in one month, every year, able to provide the conditions for using and manipulating Sciences and knowledge at the opposite of the new mysticism and revival of naive positivism (Parametrical childish reductionism) . . . We are more in the debts of‘Pataphysics approach developing apparatuses of knowledge, rid of the master discourse (Deleuze), more in the pursuit of the LOG#25, we edited in N.York about ‘Reclaim Resi[lience]stance, about politics and science . . . [LINK].

    . . . ‘Pataphysics / (with an prefix apostrophe) _ the science of imaginary solutions_from Alfred Jarry.

    . . . So on each situation we are confronted to different biotopes and feedback . . . It is a permanent challenge to confront and articulate the contingencies of logic between the instruments-tooling we bring. . . . as computation, as robotic (we are coming with a 6 axes arms this year), as expertise on design process, as a professional ‘pathological predisposition’ to dominate any situation. . . . with . . . at the opposite . . . the discovering of the potential of a masochism adaptation, for a kind of ‘situationism’ claim or debt, . . . in a strategy-tragedy of correlations . . . of co-dependencies. We are symmetrically far away from workshop in a ‘white cube class’, only dedicated to instrumentation. . . . as well as vacation camp . . . As well as illusion-alibi of pro-bono . . . The narration-fabrication we try to operate is a research zone, questioning the emerging of a shape and its ‘raison d’être’, which is simultaneously the vanishing point and the substrates of those by-products . . . appearing as artifacts . . . for Prototyping discourses and substances, material and immaterial . . . ‘Science+fiction can be defined as that branch of literature which deals with the reaction of human beings to changes in science and technology’ from Isaac Asimov, 1975
    —François Roche / Camille Lacadee

    Movies / Scenarii / Experiments

    ∑ days / Movie 5mn / 2014

    It would have been my last complaint / Movie 13mn / 2012

    [Web site]

    Although in Hapnea / Movie 12mn/ 2013

    [Web site]

    Beau-strosity / Movie 3mn

    The Feral Child (Prelude) / Movie 5mn/ 2014

    Terra Insola / Movie 4mn/ 2013

    [Web site]

    OffSpring / Movie 26mn / In editing

    La Passe / Movie 10mn / In editing


    /// It would have been my last complain


    “the philosopher, the believers & z’shell-ter”

    What could be the relationship between these antagonist forces, from a strategy of speculation re-questioning the order of discourse, to theology and religious rhetoric, where emerges a figure . . . from their encounter . . . from the contradictory zones of the believers and unbelievers?

    This interstice, this crack between two dimensions, two interpretations of the world’s logic (if there is one . . .), seems to be a territory with its own systemic values, transactional and transitory, as a fragile monkey-bridge joining the antagonist verticalities and their opposites in a shaping relation between power and knowledge.

    For example, in the Indian culture, we could approach the Bhaghavad Gita through a multitude of interpretation (especially on the fight between the two brothers): from a fairy tale to a religious report, from moralistic speeches to a pitch for Bollywood production, from a sacred scripture to a philosophical and psychological questioning of the notion of identity, duplicity, integrity, consciousness and being.

    In the background, underneath of this interrogation, a more crucial question slowly reveals itself: Can we foresee for India, (as is happening everywhere,) the invasion of the autistic over-designed international architecture, following eastern countries such as China, Thailand, Singapore . . . with no other identity than the personification of post-capitalism meanings, values and designs’ sprawling…

    Or is India able to create the specificity of its development, by extracting substances from its history, its alive polytheism, its democratic turbulence, its intrinsic relationships between narration and technologies (from sophisticated hand-made to computing fabrication, from the traditional transmission of know-how to programming machines and behaviors).

    Could we plan a situationist activism in terms of production, which would combine expertise, recognition of the needs and conflicts, but also lines of subjectivity extracted from the polyphonic listing above. . . .

    “z’shell-ter” / It would have been my last complain
    It is a story of the owner of a large library in Gokarna, he collected 100 000 books about philosophy, psychology, some on palm leaves . . . He is a Brahman . . . but because of this huge rare collection he has been rejected a long time ago from Gokarna village as an agnostic or atheist collector in a very religious Hindu zone. . . .
    The collection has been preserved in a new building on the top of the village by alien fund . . . which will open soon as an incredible public library (the Study Circle). But at the same time it has aroused the jalousie and hate from village . . . he commissioned to find a way, to do something or anything in order to recreate the link . . . similar to the excerpts Bhaghavad Gita of the Mahabharata, when Krishna helps one brother to engage the war against the other one . . . as a representation of the conflict of his own self-indulgence…

    In this sense, a small structure able to soak trough interstices between the philosopher and the believers. . . . able to trap their symmetrical self-confidence and self-indulgence, has been completed as equal distance from both locations. This illusion-catcher is open to be used by the both side. . . .

    The Brahmans in charge of temple came and validated this singularity, in charge to collect human pathologies, on one side the beliefs and certitudes of the community, and on the other the arrogant loneliness of the philosopher. . . .

    That is a true story and the old man in the movie is the owner of the library . . . as a report, a “mockumentary” of the situation.

    “A mind illusion’s fab for a ritual’s report”
    The movie title: “. . . Would Have Been My Last Complaint”
    The shell-ter title: “Devil Trap”
    Creative team
    Scenario, production, Camille Lacadee (movie), Francois Roche (shelter) / [eIf/bʌt/c]
    Design process, Computation, Ezio Blasetti
    Robotic Design, Special effects, Stephan Henrich

    Sound design, Myrtille Fakhreddine (braïbraï), Devin Jernigan
    Computation, fabrication, construction, Mark-Henry Jean Decrausaz, Cameron David Newnham, Mark Kowalyov, Peeraya Suphasidh
    Camera, Suthiwat Yanawiboot
    Storyboard, Pim Jular
    Model & props, Pajareeya Suriwong, Nichapatara Swangdecharux
    Machinism special design, Cheng Yu Ling
    Shooting schedule & organization, Wachira Leangtanom
    Making-of, Danielle Willems, Pantira Unarat
    Historical research assistant, Natreeya Kraichitti
    Community negotiation assistant, Lila Tedesco
    Production assistants, Arisa Juengsophonvitavas, Papat Jinaphun, Javed Godkin Paul de Costa, Nicha Laptaveepanya, Nuthapong Jiratiticharoen, Benjawan Lamsa-ard, Tachapol Danaboonchai, Suthata Jiranuntarat, Yanisa Chumpolphaisal, Jenwit Narukatphichai, Permpoon Rojanasakul
    Sri Ganapati Vedeshwar (Study Circle Library), Elias Tabet (Pandrata Circle), Sanjeen SingPawat, Gwyl Jahn
    Manjunath & Co, Engineer
    Ravi N.Pattegar, Civil Engineer Contractor

    /// Although in Hapnea

    A metempsychosis. . . .

    Of a young scientific reporter, in search for the reasons of the Chao Phraya—Bangkok’s mythical river’s flood, and finally engulfed by what he thought he could understand and control. Following his hazardous encounter with an Undine—ageless Thai Vouivre (1) with trismegistus hair—he is taken prisoner by water, in the body of an hydrocephalus creature (cf image); and hesitates between an endless drowning in the liquid element, and his survival via a suicidal jump in the air. . . .

    (1) In Bourgogne (France), the Vouivre (Wyvern) is a chimera, mi terrestrial mi aquatic, living by the eponymous river.

    KEYWORDS / metempsychosis—flood, foundering—‘Science without conscience . . .’ (Rabelais)—Bangkok—chimera—scientific reporter, ‘Power and Knowledge’—Positivism and Empiricism—Undine, Ophelia, Vouivre—hair—invasion, submersion—H2O + O2 / Styx, Interzone, water-air. . . .—flowing, dripping, seeping—respiration, suffocation—pugged sound, distant . . . suffocated. . . .

    Forecasting logics aren’t any longer able to predict natural catastrophes, those being generated not by natural spasms but resulting from political, industrial and human conjunctions, . . . ‘Angry’ biotopes. Gaïa’s furies are countless: Katrina, El Niño, Jeanne, Thomas and Nargis, Xynthia, Ewiniar, Fukujima. . . . a series of devastations and uncertainties that our seismographs cannot prevent.

    Elements are raging and the gods, always ready to forgive human madness, suddenly seem powerless in front of nature’s infernal rebellion.

    This short fiction film gives a double approach to Bangkok’s flood. That of the man who dominates his subject, and soon becomes himself object of this subject. We have to observe from both sides of the mirror, not in a moralist approach, but with contiguity and ambiguity. . . .

    (first part – the city)
    Bangkok is made of human exchanges and road interchanges . . . a stratification of 4-lane roads floating above an entwined urbanism, of multiple mazes, inter-zones, unsuspected infra-zones . . . a fabric of phantasms, those the Thai mythology has been giving birth to for centuries, and those overflowing from newcomers’ transit luggage. Bangkok is also a city of water, Conrad’s Oriental Venice. . . . The annual Chao Phraya flood is getting worse every year (30% of the country is under water) and transforms lives and social organisations. Understanding the reason behind this programmed immersion is what brings our young scientific reporter from Scandinavia to land here, in a positivist, materialist, occidental approach . . . , fed on certitudes about what he will find before taking the time to discover it. . . .

    (second part – the interzone)
    However, through these superimposed intertwined concrete wild urban stratifications, a break will open . . . giving to a place where logic can but abandon him, where the absurd becomes tangible, reality principle. Projected without knowing it nor how in this weeping interzone, mi-terrestrial mi-aquatic, his life becomes inherent to his breathing . . . air and/or water . . . he perceives the two worlds, this time from the one he was supposed to analyse and dominate . . . he breathes water . . . Jumping from the aquatic biotope which after all protects him, is our hero trying to recover his lost human nature . . . ? Is he attempting a new metempsychosis…? Is he victim of the illusion that he will be able to choose the form of his new mutation . . . ? Perhaps will it only be a suicide, deprived from rebirth . . . in the heaving, suffocating sound of the hydrocephalus fish-man who suffers from understanding too well…

    a New-Territories production
    a film by [eIf/bʌt/c], Camille Lacadee, Francois Roche
    co-production,Graham Foundation Chicago, Nouveau Musée National de Monaco, CNC DICREAM
    Journalist and Ophelia, Camille Lacadee
    Creature, Sarut Komalittipong
    Interzone fishermadman, Khun Pan
    Set design, [eIf/bʌt/c] studio with Katrin Hochschuh and with FabLab Thammasat University Bangkok
    Samustpon Tanapant,Arisa Plapiriyakit, Nonsthorn Srisuphanraj, Trin Chanchaiprasong, Pongsakorn Sarunsatta, Supinda Bannapob, Nonglak Boonsang
    Nuttapol Techopitch, Tanakorn Somsuk, Piyanut Songkhroh
    Glass blowing, Union Victors Co, Ltd Bangkok
    Sound design and mix, Myrtille Fakhreddine
    Guitar, Nader Mekdachi
    Make-up, Suwannee Surachescomson, Taweesit Mannark
    Cinematography, Francois Roche
    Edition, Camille Lacadee
    Ephemeral direction assistant, Sompot Chidgasornpongse
    Production assistant, Hadin Charbel
    with special thanks to, Makkasan community of Bangkok
    Sompong, Toon, Pai, Tree and Mr Thank You

    /// Terra Insola


    Once again Daedalus stroke with his technocide genius. . . . It was not enough to have created the monster Minotaur through the trickery of a cow in heat in a mythological zoophilic orgy. . . . Not enough to enslave the bestial child in a labyrinthine corridor and then get him killed by giving the thread to the beast’ sister Ariadne. . . . It was not enough, in his technicist grail quest to sacrifice his own son with solar-melting glue. . . . Not enough to imagine the last deadly bath of Minos. . . . In this opus Daedalus offers us his last incarnation of Ariadne Alone on Naxos… she is between two states…Disembarked… dumped on the island by the mas-macho testosteroned Theseus . . . killer of her Taurus half-brother. . . . Waiting for Dionysius the alcoholic to turn her into a multi-procreative uterus. . . . Ariadne is alone . . . alone with Daedalus, the eponymous abstruse useless apparatus in endless entropic self-obsessed growth. . . . The blanching of Ariadne is visible . . . in her new-age animal regression living on harvest and masturbation. She seems in peace . . . asleep . . . in featherbrained ataraxy. . . . Anthroposophic and physiological exchanges with the machine for only agenda…While Daedalus the alchemist is savoring his dejections metabolized in simple chemical constituent . . . in spiraled choreographies. . . . In the pursuit of his opera . . . psychotic. . . .

    Terra Insola is a collective enterprise of scientific storytellers, speculative archeologists, regenerative engineering, deviant-mythologists and dirty-physiologist exploring the mythic figure of Ariadne as an archetype of a modern feminist, living within a suspended time between two stages of her life, in the time between her relationships with Theseus to Dionysus, between the macho-man and the alcoholic.

    She is bound by a daytime routine and her perpetual commitment to a machine, releasing herself from all constraints and achieving self-sufficiency. In desexualizing her innate nature she reaches a degree of serenity and ‘ataraxy’. She lives in an idyllic biotope without context or reference, extracting fluid sap from the eucalyptus tree that sustains her nourishment in an anthroposophic exchange, and mixes her physiological substances (such as urine) with the earth that surrounds her to secrete ceramic for the structure that shelters and interlaces her. The structure itself is a metaphor of an endlessness creation, an architectural process that emerges within an infinite loop. The myriad of spiraling mazes and glazed clay components that wrap her body and her mind are developed by and with a machine tamed and domesticated by Ariadne to extend her desires and construct her needs in a reflexive, affective and contingent agenda. La “Demoiselle”, the nickname she gave to her “productive” pet seems to engage an intertwined, co-dependent relationship that emerges from sympathy to empathy.

    Ariadne is a woman divided by the pathology of multiple personality disorder, haunted by the echoes of her mythic past and her involuntary landing within the Schengen trap.

    When she lands, the barrier of Schengen was already since a long time considered as a fortress. Nobody remember exactly when this fence became for European citizen their own jail . . . inversing the preliminary reason of its constitution, to protect them against the world . . . but appearing contradictorily as an historical illusion.

    In this a political and ideological island, Ariadne appeared with two identities, the one who escapes from inside, embracing with her friendly “Demoiselle” a topological inversion, as an infinite fortressless animism, to protest emotionally against the contradiction, the absurdity of the situation, and the other trapped in a postindustrial location, crossing zombified human hostage of alienated Fordism tasks rhythmed by mute, dumb machinism.

    Chania-Naxos becomes the location of Ariadne’s own schizophrenia simultaneously releasing and congealing herself from her state of limbo.

    The Location of the event is an existing “fortress” in Chania, an abandoned Venetian walled zone of 15 meters high in the middle of the city, inaccessible. . . . Ariadne takes refuge inside this no man’s land, ignored by the people living around . . . there, she could re-invent, as an utopia the routine of her freedom . . . but just in the middle of the European Union “Protectorate”.

    Speculative Archeologists (Computation)
    In the life of an archeologist there is transient sense of pride in the moment of recovery crumbling remnants of the past. The endless journey of digging in the mud can only be endured by this fleeting hope of conquering a bit of knowledge of what we might have been. This momentary joy is mixed, nevertheless, with anxiety and deep melancholy. There is a sense of emptiness to find a piece, a fragment of a whole object which is invisible. There is emptiness because the empire to which we have laid all hope is nothing but a powder of formless ruins and we are only left with fossils of a triumph that cannot be reassembled. Fragments of found knowledge are tropes of a lost empire, of something that might have once defined us and as such we pretend to stem from the illusion that this ancestry still delimits us. The fear of reassembly, the fear of projection marks the absence of one truth and it stems from another anguish, that of changing the arrow of time. In this locale, this distress is expressed through the practice of absolute preservation in the illusion that there is a truth in the past that cannot be transformed, regenerated or mixed with other time zones; it cannot participate in a process of experimentation, a process of imagining the possible fluid space between the found pieces. The pieces thus float, suspended between voids in a canvas of a forensic analysis. What is the crime though? The crime might be this void, our inability to cope with a stretched notion of time between the past and the future; it might be the unconscious denial of the ego to bridge a gap between the past and the present as a peculiar defensive reaction against the fear of the unknown, manifest by projecting the future not as an entirely new course of events but as an organic thread linked to past glory. Preservation might be a pathology projected in our unquestioned consent to abide to linear time, to a phantom of a truth that no longer applies to who we are.

    Speculative archeologists venture to imagine the projection of past piece and the glue between them as they reflect on us today. They unearthed forms of the labyrinth and through generative form-finding processes, they forecast the glue of the prison that now envelops us. It is a tree, inside a spiral, inside an inaccessible plot of land, inside an island. The labyrinth allows them to project and experiment our sense of nested entrapment in multiple levels reinvigorated from found-symbols of ancient ruins and artifacts. The experimental archeologists used the eucalyptus tree as both an impetus and a constraint of their design, adaptively retrofitting the progress of their archeological dig to the ancient artifacts and future findings of the site.

    The process of reinventing the space of the labyrinth is a process of resynchronization with contemporary scientific tools, using algorithmic functions of incremental adjustments stitching pieces of found knowledge and forms. Like Roland Barthes spoke of the Argo ship, as a carrying vessel whose pieces needed to be substituted piece by piece as the Argonauts were traveling, algorithmic functions are incremental rules, none of which are individually spectacular or unique. Rather, they overall produce, through a sum of small insignificant details, a spectacular topography of envelopment. Although our spiral assays to discover the glue of a given setting, the manner in which this shift is accomplished numerically, pixel by pixel reveals an infinite number of new possibilities, in the course of the morphological character being established. This is a complexity produced not by genius, inspiration, determination or evolution, but by a modest action of simple substitutions which cannot be caught up in any mystique of genuine creation.

    Regenrative Engineers (Robotics)
    Ariadne’s decoding of the labyrinth convicted Deadalus inside the omphalos [ομφαλός] he created. Such was his fate for reconstructing a physical vortex that would eat and digest all travelers. In effect, the famish Minotaur was only a decoy to the hunger of the labyrinth itself, the space of a black hole with such gravitational pull that subjects were bound to aimlessly drift, disintegrate and ingested by this spatial machine. In captivity, Daedalus relinquished his mental aptitude to generate ideas, unprecedented and unmixed with anything extant in the physical world -parthenogenesis [παρθενογένεσης]; he became an avid material collector, a dirty bricoleur that would lay his hands deeply in the soil, ravage pieces of the walls he once built with pride, scavenge fallen feathers of migrating birds and interrogate their newly formed relationships. His deliberate mental blockage was an operative self-containment, barricading reception of any perceptual input from the exterior world; he shut down environmentally in the vortex while experiencing a deep regression, drifting through the malicious walls he had designed. The territorial demarcation of obstruction-markers forced him to invent mechanisms and material organizations that would not have been probable outside the penalty of his own omphalos [ομφαλός]. Rather than generating ideas as a type of virgin birth, Daedalus was now driven by the desire for transforming and re-tooling existing physical resources, feathers and wax. The myth, outsourced as common knowledge, tells us that the failure of his son Icarus to fly above the sea and his dramatic fall and demise, indicates not only the failure of Daedalus’ endogenous [ενδογενής] machine, but most significantly the hubris to surpass human nature; a hubris which was symbolically penalized for not respecting the inherent limitations of human power. This precise hubris though, the will to create an impossible machine, made of soft pieces, fragments and fluids, even though it would most likely fail, is what makes Deadalus a regenerative engineer, a handler of humours contrived by the syndrome to produce a machine imbued the vitalism of a digestive stomach. Daedalus’ endogenous [ενδογενής] machine was not only an adhoc assemblage of fragmentary physical objects of its own locale, but was also in direct co-dependence with the extended biotope; it was a fragile being in synch with the ambient ether [αιθήρ] and so its malfunction was only proof of its vitalism.

    On one end, Deadalus’ action is indicative of a fractured activity of artisanship, of craftsmen that work as a group in an organic co-dependency with the locale. As is known, guilds [συντεχνία], coalitions of workmen with a dissolved sense of agency, were lost in industrialization. The fordist machine tuned to the determination, efficiency and optimization of production replaced the worker’s anomaly in a series of repetitive binary tasks. What is production though now, in a world of DIY construction kits, home manufacturing personal 3D printers and a Wikihouse with open-source plans that can be personalized, improved and updated anywhere? Benjamin’s Work of Art in the Age of Mechanical Reproduction is reverting to a robotic handcrafted artisan tradecraft, now forgotten and ignored. It is imbued in the automation and mechanical ingenuity of a three-dimensional printing robot that extrudes ceramic matter nourished by Ariadne’s hand, the feeder of the machine. Reviving obsolete objects and instruments of fabrication, the regenerative engineers restore materials and technologies of a mythic past.

    Like the labyrinth itself, our regenerative machine, is a giant omphalic stomach. It is connected with its feeder and its biotope with umbilical cords that cannot and should not be cut. Our robot is a digestive device of the physiological substances in its protracted fluid biotope; all substances, fluids and humeurs are ingested and excreted by the robot in a process of perpetual exchange. The stomach is a recipient of vital significance that processes input –food (clay mixed with urine)—into output—excrement (ceramic clay). It is a feeble region of the abdominal inner side, deprived of muscles or other solid substrata; it is thus particularly malleable, tending to deform due to inward pressures, such as excessive food input, weight augmentation etc. Sometimes, the robot digests, while others it vomits; it is as Deleuze would argue a body without organs, a system of connecting vessels where certain amounts of energy are channeled from one location to the other yielding deformities, swallowed regions and outgrowths. The hyper-stimulation of its digestion may in some cases result in the atrophy of normative organ functions. In this sense, the vitalism of the robot marks a systemic shift from the body’s hard anatomical components to its soft tissues and fluids; this shift is expressed in such symptoms as the movement of the smooth muscle fibers of the vascular walls, the functioning of glands, the process of tissue nourishment and other intra-physical regulations which feed of other animes, bodies and fluids of its surrounding. The phenomenally robust machine is no more resilient than an omphalos and the anguish of connection or disconnection to life.

    Deviant Mythologists (Research)
    For many the Minotaur was a beast that insatiably devoured innocent human youth. It was a vulturous predator, a monstrous ‘semi-species’ occupying the core of the labyrinth, eventually defeated by Theseus’ insurmountable bravery and Ariadne’s navigational intelligence. The Minotaur effortlessly travels to us today as the representation of externalized power unwillingly imposed to the individual. It is the banks, governmental authority, legislative injustice, the fabricated sensation of future progress and the utter lack of a propagating political ideology. But is Minotaur solely an alien villain external to the subject of narration? Could have it been eagerly waiting to be killed? Devoid of origin, ancestry and purpose, even devoid of the ability to recognize what to eat, the Minotaur was half-human condemned to partially eat a part of him with every bite. He was already in a process of disintegration before his death, which was symbolized in the myth as punishment. It might then be that the Minotaur is not a foreign anti-hero, but an inevitable part of our own existence. What have we become after years of disalienation [αλλοτρίωσης], from absorbing and digesting the artificial food of linear progress, enmeshed in the game of power and Darwinian evolution of society and power structures? It is easy to say that we can kill the Minotaur as if it is outside of us. Its slaughter, its straightforward killing is only naïvely revolutionary. You would rightfully demand: we should kill the banks, the governments, the institutions which are sourcing corruption. You would say, it is not our fault that we are trapped in a crisis, in the labyrinth of Shengen, but yet, we nurtured the Minotaur and became him in the incremental process of accumulating its features. In the myth, Ariadne is the cunning weaver, the one able to navigate the convolute canvas of the labyrinth and reach the source. Though her action, nevertheless, she is killing a part of her and is condemning herself to disown her mental skill. She sentences herself to a material life, one where she only needs to harness and control the prime matter of her body, the products of her ingestion and excretion in an extended timeless biotope. In a relentless physiological loop, she becomes an instrument of a trap she laid out for herself; her own survival. It is a closed world, where she is a voluntary prisoner of her own intelligence.

    The story of this voluntary entrapment is a regenerative myth, extruded from Ariadne’s myth as a resourceful weaving semi-deity. The story is not a fictitious narration but a stretched reality blurred in time. Through the story, us, projective mythologists, have researched narratives, characters and artifacts used in Ariadne’s mythic daily life to perform daily tasks. Her tools were studied and regenerated, redrawn and reimagined within the extruded reality of our projective myth. In Ariadne’s future her instruments include a knife for extracting sap from the tree and mixing the substance with water for nourishment, a knotted mechanism for clothing as a time machine, and a device for urinating in an endless loop between her and the biotope. These objects were informed by ancient notions of pragmatism, and imbued by historical and mythological allegories in an act that is a reading, a re-writing and a re-invention of history. Ariadne’s story narrated through the usage of these tools is not about an innocent struggle for survival; it is a story to seize the tools to mark the world that has marked her as the other.

    Scientific Storytellers (Movie/Making Of)
    When Aristophanes was summoned in Plato’s symposium to speak of eros [έρως], he reverted to the root of human nature, the original natural bodily reality of three sexes: the male, the female and vanished entity of the malefemale [αρσενικοθήλυκο]. The latter was the strongest and fastest of all, combining attributes of both the male and female. Its appearance was whole and round with a back in all sides, four hands and legs and two faces. The creature was not erect and would never stand vertically to the earth. It did not walk, but tumbled after taking a spherical shape. Its immense power and integrity became a threat to the gods who were assaulted by its strength and intensity. Zeus then invented a machine, destined not to eliminate the third sex, but to fade its supremacy; he sent a lightning to split the sex. As soon as the creature was fractured in two, each half would run with passion to the other half and put its arms around it, because the desire for reunification was greater than hunger or even survival. So according to Aristophanes, eros has been inherent in human nature as the tormented journey of reunification and synthesis of original descent. Eros attempts to make the two more than one and thus remedy the original shortcoming of each of us as a split symbol. Aristophanes’ duality though was displaced later in the Symposium by Diotima’s version of eros as a multidimensional diaspora [διασπορά] of the body in floating fragments; a fractured ego looking not simply for the other, but for pieces of one’s self.

    In her Odyssey between Theseus and Dionysus, Ariadne experienced her body in this reality of diaspora, a dispersal and innate incompleteness so profound stemming from the absence of the other. She was lost inside the circuits of her own lack. And yet this was the same woman that decoded the circuits of the most complex space of all times and defeated Deadalus’ ingenuity by unfolding the yarn [μίτος] out of the labyrinth. Driven by necessity to complement her body and heal its defects, she invented tools and supplements of daily praxis as inherently erotic activities. In the story, Ariadne is partially portrayed in a timeless zone, where she is bound in a daytime routine, desexualizing her nature, inserting herself in a consistent repetitive loop. She extracts sap from the eucalyptus tree that nourishes her and mixes her urine with the earth that surrounds her to feed the robot that then secretes ceramic and builds a shelter that envelops and labyrinths her. Through her choice to engage with these tools, machines, the robot as her “productive” pet, Ariadne replaces her need for the xenogeneic [εξωγενές] other male counterpart and disperses her desire in a relentless allogeneic [ενδογενής] routine, a series of actions that bond her with the biotope, the excretions and ingestions of her body and the earth in an infinite loop. While the xenogeneic is that which is derived from another species, the allogeneic is that which is formed from within a species as that species evolves to become alien to its origins. As an extension of this mutation, we can view major problems in contemporary culture as allogeneic, meaning problems that were unexpectedly created via alienation from the root.

    This is not nevertheless a mechanical kind of love. In the case of the ‘mechanical’, eros is directed to the ‘other.’ In Ariadne’s case, eros is directed towards the ‘self’, as identical parts of the body are being cultivated and grown with care in order to fuse with the original body and not be distinguished as external elements. The erotic desire here, not merely from a sense for completion, but also from a deranged excessive desire to duplicate the ‘self’, to refine it and prolong it to eternity.

    The narrative, written from both an internal and external perspective, told by scientific storytellers strives to encapsulate the chemical makeup of Ariadne’s character of Ariadne, separated by two seeming-realities. The narrative followed the pathological and schizoid nature of Ariadne’s multiple personality disorder through neurological and emotional testing, exploration and analysis.

    Ariadne’s schizoid existence is a byproduct of our social reality that suggests a new set of material, physiological and existential relationships between the ‘I’ and space. Her disassembled and reassembled self is not defined by the fixed instance of her birth, and her upbringing into the world. Instead, she holds fractures and parts of herself together and mutates, in order to survive. Ariadne refutes the wholeness of her body and herself, even ‘wholeness’ as a generic idea, and proposes in its place biotic components -fragments- that can be interfaced and interconnected in endless ways.

    Dirty Physiologists (Fabrication)
    “Of bodies changed to other forms I tell;” wrote Ovid of found myths, deformed to feed one another in a perpetuum carmen. Still, there was nothing new in the idea that the universe was in continual flux. This was the teaching of Heraclitus and Ovid’s admired Lucretius, following in the steps of his master Epicurus. Material transitions provoked wonder and bewilderment throughout history; they invoked an incessant drive towards infinity, through the perpetual transformation of matter. Ovid’s myths promised that matter does not come to an end; instead it changes state. Infinity was then rooted in the alchemical, elemental and metamorphic power of materials and their mercurial effect on another, whether they are chemicals reacting to moisture or substances or phenomena-including sound and other encounters with the temperament of their makers.

    As such, money might be dehydrated filth that has been made to shine. This is Roman Emperor Vespatian’s saying Pecunia Non Olet (Money does not smell), who taxed the usage of public urinals so as to expurgate the dishonorable act of defecation. In the endless loop of material formation, the affinity between dirt and profit is vital; it is visibly witnessed by the number of alchemists in their compulsive attempts to converge shit to gold. It is, however, with Freud’s explanation of the anal-sadistic phase in psychosexual development that the child’s passion and affection for his feces comes clearly into view; here is the first instance of the subject’s creation out of the materials in his own body. In this sense, the pleasure in the clean object becomes a cover for satisfaction of the most primitive anal-eroticism. Shit and urine are ejected from the body and rejected by the psyche, whereas money is introjected by the body and accepted as a highly desired form.

    If dirt and profit through are of value to our hypothesis, it is due to the fact that both states entities allegedly derive from the same prime matter in an ongoing recycling process. Materials are not viewed as concrete objects, constituted out of say metal or paper, but rather as a disguise for a sequential set of other substances that brought them into existence; in other words, shit and urine undergo a serial transformation assuming different material states all the way to objects of value. The purpose thus is to discredit the significance of objects and support that materials exist merely in stages, while they absorb qualities from their previous stages: mud is shit deodorized, sand is mud dehydrated, pebbles are sand hardened and 3d printed beads are pebbles unearthed.

    It is in the wonder of these conversions that the world of dirty physiologists find pervasive fascination. Every material may exhibit several states, so that it exists only in fusion, which speaks of the heteroclite [ετερόκλητος] and temporal nature of changing bodies. The term “fusion” marks a number of slow formation processes, such as gas blow piping, glass blowing, metal heating, ceramic baking, soap bubble blowing and most significantly the methodic evolutionary character of the recycling process . These slow processes do not captivate the mind’s eye merely because of their actual final products, but also because of the intermediate stage of blowing, cooking and baking, where a material is so soft and malleable that it could potentially assume any form; it is left to blower’s direction and temperament to mold the material to its final figure.

    Material is then only a “vortex,” a “threshold,” or an “ideogram” that accumulates meaningful associations between things, as for instance mud absorbs the qualities of its previous feces stage and carries within it a fecal history. Each material “stage” is defined by a threshold of information bits and their interrelated bonds. As an example, in stage of dirt, information is so finely grained and scattered that it cannot form bonds in identifiable patterns. Essentially dirt is information is so unrefined and randomly grained that it is “interrelational loss” or in-cohesion between bits and particles that defines its degenerate condition. Accordingly, characteristic subtractions – such as the subtraction of odors on the passage to mud, of wetness on the passage to sand, of softness on the passage to pebbles and of earth on the passage to objects – can be read as a specific type of constraint that becomes a synthetic parameter in the bonding of information. The subtraction of qualities from predeceasing substances creates new materials.

    /// Beau-Strosity

    Is set in the slum of a BKK megacity in which all assumptions of complex political cultural structures coexist in continual violent struggle. What the journalist discovers is an insidious infiltration of an incestuous phenomenon, a structure that is an embodiment of the relationship between mother and son that amplifies the intensity of their co-dependency. As familiar boundaries decay we can no longer take comfort in normative filial relations. What the film discovers is not an anomaly but a measure of an emerging circumstance within the city, a petri dish seething with anamorphic potential.

    The revelation of an undiscovered paradigm.

    Producer(s): New-Territories (Francois Roche, Camille Lacadée) + RMIT
    Director : Anastasiya Vitusevych
    Writer(s) : Dan Schulz, Eleanor Tullock
    Lead Cast : Ad + Chanja
    Supporting Cast : Crystal Song Choo Jing, Dan Schulz, Vivian Kon Ching Sian
    Cinematography : Lila Athanasiadou
    Set Director(s): Ada Umgofia, Crystal Song Choo Jing, Dan Schulz, Eleanor Tullock, Loo Yew Hann, Sam Verschoren, Vivian Kon Ching Sian
    Sound Director : Loo Yew Hann
    Casting Director : Tree
    Security : Crystal Song Choo Jing
    Blood effect : Eleanor Tullock

    /// Feral Child
    Movie / Design: Francois Roche / Camille Lacadee / 10 mn
    Performance: Syv Bruzeau
    Collaboration: Jeremy Djaffer / Tiziano Derme

    Scenario / Scene 1
    We were not able to extract the feral child found in the deepness of Singapore Jungle without the minimum environmental precaution. The group of scientists in charge of her re-adaptation decided to avoid jumping into a Mowgli syndrome, and instead placed her in a human education settlement. Those fragments of Bamboos forest are literally the biotope in which she survived.

    She has trouble learning to walk upright after walking on fours all her life, and displays a reasonable lack of interest in the human activity around her. She seems mentally affected and has almost insurmountable trouble learning a human language. But even with this high degree of acculturation, she is wildly prepared to survive in a hostile situation.

    She is a female, of around 20 year old. We are not in the situation to trace her provenance and real identity, but her DNA is showing a kind of creoleness, being 40% Caucasoid and 60% Mongoloid.

    Even if her behaviour seems to be plaintive and fearful, even if you can hear whispering sounds reminiscent of jungle animals groans, she is safe.

    Please do not disturb the feral child, and do not feed her. We are not in a zoo. She has to be respected as the last wild anomaly in Singapore cultural and societal environment.

    /// Sum Days
    . . . it is about the compulsion that moves the body towards animality . . . an orifice that summons . . . it speaks and promises absolutes . . . it becomes the impossibility to resist the call of the embassy, the call of desires. . . .
    The situation is of dialogue, an exchange between a Diogenean human and a wild rat; caught somewhere in between. Inherent in this situation is a paradox, that by longing to identify with the wild, one is inadvertently tamed, caged in an opposing intention.

    The urge to consume, the hunger for mutualism in its entirety. The (il)logic imposes to be repeated.

    Produced by:
    New Territories
    François Roche & Camille Lacadée

    RMIT University
    Gwyllim Jahn
    Main Cast (actor)
    Agatha Partyka
    Lynda Nguyen
    Mark Kowalyov
    Agatha Partyka
    Lynda Nguyen
    Mark Kowalyov
    Grant Trewella
    Sound Design
    Agatha Partyka
    Sound Production
    Daniel Balacich
    Morphology Design
    Jack Mansfield-Hung
    Victor Wong
    Morphology Construction
    Zaid Audi B Mohd Khorie
    Victor Wong
    Jack Mansfield- Hung
    Rat Cage Design
    Christopher Ferris
    Victor Wong
    Translator – Local Liason
    Khunakorn Terdkiatkhachorn
    Zaid Audi B Mohd Khorie
    Khunakorn Terdkiatkhachorn
    Jack Mansfield- Hung
    Fabrication Assistants
    Victor Wong
    Christopher Ferris
    Mark Kowalyov
    Daniel Balacich
    Grant Trewella
    Agatha Partyka
    Lynda Nguyen
    Victor Wong
    Zaid Audi B Mohd Khorie
    Costume + Make Up
    Lynda Nguyen
    Jack Mansfield- Hung
    Lynda Nguyen

    Supporting Cast (actors)
    Christopher Ferris
    Jack Mansfield- Hung
    Lynda Nguyen
    Zaid Audi B Mohd Khorie
    Khunakorn Terdkiatkhachorn

    Additional credits and links:
    [New Territories]

    “Feral Child”: Camille Lacadee, Danielle Willems, Ezio Blasetti, Stephan Henrich, and Francois Roche with Ehsan Fazli , Dennis Schiaroli, Josefine Kallehave, Annie-Locke Scherer, Timothy Sutherland, Dilsad Anil, Agatha Partyka, Yağız Söylev, Kristoffer Codam, Philip Marcantonio, Johnny Bocquet-Boone, Michel, Ian Donaldson, Yujia Claire Bian, and the two Parisians Alexandra Singer-Bieder, and Agathe Michel.

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