The Problem Of Driving Through Space

by Dragan Zivadinov


The lavishness of architectural competitions dries out everyone taking part in them. You, the owners, call a competition, summon individuals and groups to participate bound to the given conditions. With ideas. The competition is a subpoena for them. And the lavishness uncharted begins. The conditions are set, the location is set, GRAVITATION - 1. The winners shall build. Architecture engineering construction (AEC), civil engineering, a reminder - an apartment, a reminder - the parliament, a reminder - a factory, a reminder - a telemachine, a reminder - a supermarket, a reminder - a chamber. Countless patterns, patterns of the same order, patterns of your order, the order of owners. Your magazines are designed by past cultures. That is why I always decide to build the interior, the set of the inner face and its future fittings, the FURNITURE. This is the project, this is where Dunja Zupancic steps in. This is where the fifty-year project and system begin. It is to them that I endow all of my moving and digestive organs, my pneumatic tubes, angles and levers, until finally I have nothing but my head and an elevated thought:
My ATTRACTOR, my information on how stabile I am, my plan, my future now, open all of my millions to me, let me into my cardinal neurons.

I shall wait for you to call a competition with all the required conditions for the great avant-garde GRAVITATION-O. And you will fail. Demand mimesis, the two of us will give you beauty, demand antimimesis, zaum is what you get. And, after all, your plan is being materialized, so are the clients, and the years go by and there is nothing wrong with it.

Our posture in front of the monumental machine of dimensional black eternity without a plan and ideas shall be renewing the furniture the two of us devised. That is why the two of us grant the Noordung's orbit sixteen techno-pulsations, the basis of our techno-enthusiasm, which, together with a geostatic information satellite, shall register the height of the two of us and the depth of our beginning. That is how we, the HYSTERICAL, solve the problems.

We, who in 1995, April 20th at 22.00 performed in a theatre-inhabited sculpture a cosmicist action One Against Ten Million, One Against One, Noordung . The perspective of the viewer was directed vertically downwards from a dome. Its first reprise will take place in ten years from then, on the same day at the same time, with the same actors, in the same costumes, with the same text. The second reprise will take place ten years from the first one in the same manner. The third reprise will take place in 2025, the fourth in 2035 and the last, the fifth, in 2045. Should one of the actors die during one of the intervals, the two of us shall replace him in his mise-en-scene by a remote-controlled robot-model. In the temporal interval of the reprise, the actor and his speech will be substituted by rhythm while actresses and their speech will be substituted by melody. In 2045, there will be sixteen models and the music instead of actors and actresses in the inhabited sculpture - the geography of the mise-en-scene. On May 1st 2045, I will fly into the geostatic orbit by a spacecraft and place them on sixteen points around the planet Earth. As close to the information satellites as possible. The models - substitutes for the actors are going to become modules registering the height of the two of us and the depth of our beginning together with the info-satellites.

The realization of theatre as palpable reality in the GRAVITATION-O shall replace the work of art in the future; the realization of theatre in the GRAVITATION-O shall demand uniform understanding of life (uniform = universal form). The realization of theatre in GRAVITATION-O shall demand liberation from under the rule of Nature. The theatre shall thus inevitably become an inhabited sculpture. Life of a future body shall thus pass within-Art itself. Modules shall become systems of signs. Pulsations shall become information of the emotional memory.

You, owners, shall only own the usage. Your gravitation regimes are persistent, they can even incorporate sense, reality and the plastic ubiquity of the two of us. You can even claim: the ABSTRACT THEATRE, ANTI-PSYCHOLOGICAL EMPTY-BODY DIRECTION, LEVITATION. But you will always despise ECUMENICAL ANARCHY. You are not ready to look at the ultimate beauty. Mind is beauty, mind is a form of energy. YOU DO NOT WANT TO SEE THE DIFFERENCE BETWEEN THE BODY THAT THINKS ABOUT GRAVITATION-1 AND THE BODY THAT THINKS ABOUT GRAVITATION-O. The future conflict lies within this difference. The fight with Nature, becoming part of the fight for the THINKING MACHINE (neuro-space). That is the project.

But let us return from the psychology of metaphysics back to the binary systems that waste the energy of your drama competitions. Let us find the conflicts of the future works of art and arrange them according to the FURNITURE of the two of us: Hydraulic decompression, Vertigo and DeZayas decompression. That is the fight that I have been through in the Noordung's cabinet. A battle between the mind that knows what is going to happen and the body that does not. But the anxiety drifts upon the mind as well. In this inorganic drill, death is warming up Noordung's myth until it is glowing hot. On one side death enabling the artificial Noordung satellite, on the other the death of Herman Potocnik Noordung (first constructor of a geostatic satellite). This is the symmetry of death. This is the symmetry of GRAVITATION-1 and GRAVITATION-0. This is production of the visible from the invisible. This is production of a myth. This is production of a Paradox. This is production of death. Death is irrelevant, the myth is irrelevant. The paradox is relevant in its temporality and the symmetry in its infinity. That is the FURNITURE of neural networks and self-reference. Self-reference is the ultimate beauty. YOU CANNOT SOLVE A PARADOX, YOU CAN ONLY TRANSCEND IT. The theatre in the GRAVITATION-0 proves that a limited complex system always enables metaphysical survival. If television is furniture with information food and an extension of our consciousness, Theatre as a limited complex system is our co-processor, the ABSOLUTE NOW of our KNOWLEDGE. We, the makers of modern art, understand modern science but those who produce modern science do not know modern art. OWNERS and SCIENTISTS, this metaphysical furniture arrangement is for you. Hydraulic decompression is a mass grave. Vertigo decompression is a family vault. De Zayas is a genetic sculpture. Abiding by analysis cannot solve a paradox. And this is the beginning:

ONLY THE BIG ENOUGH SYSTEMS, ONLY THE COMPLEX SYSTEMS CAN AFFORD SYNTHESIS OF THE CONTRADICTORY CONDITIONS.

These systems will lead us to inventory. On one hand towards soft technologies - the ACTORS and ROBOT MODELS, later MODULES, as inanimate forms on the other. But let us examine the vault. The inanimate. If theatre is a Universal form then the inanimate world is also part of it, at least intentionally but still containing enough quality and potential to talk about consciousness.

I am talking about the theatre of self-reference. That is when theatre direction does not only transcend the autonomy of the art of directing (direction of all directions) but creates another paradox. In an inhabited sculpture is where I want to dwell, where the two of us want to dwell. But this must not happen. By placing of myself - or of the two of us, I/we would nullify the ANCHORAGE-GEOSTATIC ORBIT (direction as the form of the near future). I would nullify myself or both of us as a condition for a theatre masterpiece. Theatre would no longer be a theatre but the WORLD itself. The ORBIT is a pattern of advanced disorder of seeming structures. We are talking about total self-reference. Partial self-reference is still retro-garde. Arranging of the FURNITURE inventory is pure self-reference, allowing paradox to appear directly. So much about the retro-garde. Let us move on into the hypertext:

A methodological swap will take place in the volume of the set. There will be no more living creatures on the set, only technopulsations, gaining a more famous name in the future. There will be no more living creatures that our brain could assign to REALITY instead of ART. Let us therefore start the swap. Let us change the pigment, the form, let us step through the transparency of the event onto an abstract plain where there is no more confusion between reality and art. Let us change the conflicts in our dramas. Let us change the books. Let us change the spaces and then enter them with devices that never before have been used to measure conflicts. So far, the length of dramas was measured with time, the views were approached with distance. But to perform the swap we desperately need a device that would help us anchor ourselves within CONDITIONS. Help us temporarily anchor ourselves in the ORBIT. There, everything will change. But not with uniting of technology. That would give us a media parade, theatre but never art. United technology is a retrovision of the theatre, materialized in the spaces of global markets. OWNERS AND SCIENTISTS, I know where you never fail and we always do. We do not communicate about ideas because we manifest them materialized, because we nurture narcissism that we present in telecreation. Your communication is accelerated in all directions, ours is always one-way, irresponsible. But the ANCHORAGE-ORBIT shall - by changing all - change the IRRESPONSIBLE (dada) into RESPONSIBLE (uranium).

Let us look at the planet, the geography of continents, how it structures your information on what might have been upon our Monitors. YOU ARE THE MEDIATORS. This is your cognition and you are selling it to the connected. But you never show them the VACUUM, you never tell them that everything originates in IT. You are looking for faces, you are looking for those who could visualize the VACUUM for the front pages of your Publications. Who owns the picture, owns it all. Information is always given a face.

These faces guard your calculations, your magazines, your televisions, these are the faces that come to you from the Theatre. Technopulsations are information and a face but information and the face of the ABSOLUTE-0 and the existence of the two of us in it. In this thin material world we therefore lean on tactics. Never on strategy or its melody - intuition. The sequence of FURNITURE looks like this:
VACUUM-ABSOLUTE NOTHING and from it
PLASMA, GAS, LIQUID, SOLIDS. These are the physicalities of our
FURNITURE.

A mental body is a composition of my direction, the physical body is a body of change. The body of a spectacle that can leak like gas. Or liquid, glowing hot in the vault - Furniture. Or the solid anchored in the orbit of memory. This is the 20th century ugliness looking for allies in Nature and its most brilliant device - death. Death is irrelevant. We are, of course, looking for the face of VACUUM! Forget discretion. Machines are no longer in. That is why our metaphysical FURNITURE is a machine for production and preservation of the Noordung products. Let the FURNITURE become a machine that talks of the unbalanced, dangerous rationality. A machine that is not afraid of the wearing off of the material. Materialization alters the World without the meaning into a meaningful WHOLE, which is inhabited by the technology of the Statement. Repetition and gradual progression of the Book of intentions will lead us to April 20th, 2045, and to the hymnic. A poetological ideal - TECHNE done to perfection. We are all going to be irritated and sensually aroused. Emotive. Not knowing what we are performing, not knowing what the one who is observed or the one who imitates the whole thing see.

It is crucial to get to know the change. For the fourth time and the last time. Only now that I am in the final process I recognize the beauty of all of the so far made turns. It is necessary to change everything. The two of us will be attracted by our personal problems and the hovering landscapes and their opal shadows. The previous sentence proves that the Earth oscillates. The Wholes run out, the two of us have been through that. The two of us cannot bind our findings to anything - the two of us have realized that. The two of us even have problems being translated because so few languages have DUAL. Maybe what the two of us need is a device-a pendulum for measuring exotic ontology. Language is traditionally infected by sense, which is not in accordance with my unsystematicallity. This is where the hypertext ends.

And here, the text of memory begins. The Theatre of Scipio Nasica's Sister had its duration set in advance. It ordered itself to exit from the authorial speech and chose visual memory and perfectionism as the basic offer of the techno-intelligentsia, the bearers of the future reign, for its speech. We have to emphasize that INSTITUTION is and will be ready to donate considerably if the contract is of mutual benefit and ambiguous. That is why the two of us will follow you, SCIENTISTS, in your double-meaning utility. Let us continue with the text of the memory. The Theatre of Scipio Nasica's Sister in its disgrace rebaptized the reign of the religiously melancholic homeliness into the reign of technological speech.

The three periods of the Theatre of Scipio Nasica's Sister - from the underground, exorcism to retro-classics - were all about the Slovene language. About a small language that is MUTE due to its smallness. That is why the language of the Red Pilot was the language of Great Technology. With its observatories, the Cosmo-kinetic Theatre Red Pilot observed the disintegration of the Religious feeling of Utopia. The Scipio constructed the view UPWARDS, the Red Pilot DOWNWARDS, and the Noordung into the GRAVITATION-0. Within the theatre, within the GRAVITATION-0, the two of us are going to colonize the Slovene language. Literally. Without uttering one word. Even languages need a PLACE TO REST.

Clients, the competition is over.

THE TWO OF US CHOSE EACH OTHER.
THE TWO OF US WILL SELF-REFER.
SCIENTISTS, THE TWO OF AS ARE WILLING TO NEGOTIATE WITH YOU.
ABOUT NONSENSE.