Dada: Music.Space.
Dada with its heavy dose of non-sense and unusual kind of inverse humour acts against the madness of our current time and space. The performance and installation contextualise Dada art movement into 1; namely the title of the workshop: “DADA: Music. Space” and making invisible language into visible emergence of post-human. The workshop or symposium consists of two parts but understood and presented as one (1) whole.
Background
It is my extensive academic work on the subject of human as social being thought as the language invention and thence situated in the context of permanent liminality. This approach has influenced my idea on art performance and installation. In my academic works several topics are interconnected, such as violent conflicts, divided societies, dived self, transcendental self, the role ofagency in dissociation, and so on. For instance, in my PhD, titled: Peace Treaty as War: The study in permanent liminality the argument consists of a series of interdisciplinary topic relations working in unison to show and/or formulate a conceptual framework how peace treaty may not necessary lead to “complete” self hence society. In contrary, it may lead to deeply divided society and liminal self in which analogue self ensues ad infinitum.
Only after I have finished my PhD I became interested in the langue of art and design as a tool-box for a possible conflict-resolution. By creating some sort of installation, performance, or objectGestalt one can begin to glimpse into the silent and living langue of art. The point that I am making is that I am trying to transition or bridge the language of science with the invisible or unverbalized the langue of art, design. Thus considering the academic and scientific “reason”, the medium I am after or most connected with is “analogue” and “digital”; in other words, an visible transformation period in humanity where human language – objects or forms – no longer seems to operate on the level of analogue – mimetic – but are turning digital – non mimetic thence productive, active, transformative, dialogical, cybernetic, relational, etc. Thus, the exhibition shows the transformative act of my will as the digital rather than analogue kinesis.
DaDa as the positive exposition of the transcendental self
1). First, there is reading/presentation and explanation of the title “DADA: Music. Space.”, in which rave and psytrance is understood as Art-language and is discussed from scientific or socio-philosophical “eternal return” point of view. It also introduces that which is obvious yet invisible to the naked eye; in other words, it follows the notion of the “synthesis of intuitions” though in this context of this concrete installation the science and art in unison via techno music (music as timeless and space less instrument) are as-solo-one. This part is heavily loaded with arguments presented by: Immanuel Kant’s transcendental subject, Plato’s “mimesis”, Michel Foucault “archaeology” and Dilthey’s “weltanschauung” though all under the umbrella of techno-art.
2). Second, the presentation is followed by artist’s synthesis of intuitions of modern dance installation though ending in a frozen pose of Rodin’s The thinker. The subject is forced to abandon only discursive existence thence word “humanity” and hence designed analogue language and reason associated with the word “human.”In other words, the subject is/exists but is no longer described via word human.3). Thirdly, the installation probes into the words and discourse thus asks the question: What it means to think or how we think the word human in 21st century? What it means when we say how do we think and arrange the space and things about ‘us’? What it means to be ‘human’ or is human non-existentform on the level of discourse thence can we talk about post-human epoch?
In particular This unique presentation and artist’s performance’s goal is to read into the invisible and enchant it into visible exploring the movement of post-human potential. The extension of the formhuman body (flesh) is only possible doe to the thinking but the main reason chosen to be presented as a medium is that one can be visibly see the power of the designed that is non-analogue form. The designed is visibly exposed as an infinitive oscillatory dispositif.It is Infinitive as it (reason) is not time bound. (A thought or pure thinking seems to be like a music.) Oscillatory as it transgresses the limits of time and space. Dispositif as it is a product of infinitive and oscillatory forces, which are understood as part of the perpetual endless relationships interconnected between living things and non-living matter.
The Installation
It uses DaDaunder the motto “DaDakannnichtjeder” and it inverts it from its traditional location while placing itinto the new 21st century as a powerful scientific instrument. Instrument that can be used to diagnose the level of pathology in a society. Therefore one can observe in the exhibition how abruptly dispositifis turning into the living technology harvesting the space made by psytrance and rave music intoD-art. But, D-artat once revolts against artificial technology (digital). Whilst in the new form as a phenomenological extension of that which is invisible to human senses, D-artbegins to respond to the new form (technology) as the act of dance thence unverbalized speech breaking the limits of mimesis.
It creates the space to guard the invisible. Yet from within it, itenchants itself (music/art) asthe perpetual becoming (kenosis) and the cause rather than consequence of the space. Thus, when connected with it human body along his/her senses it purely (reason) becomes the extension thereof thus the re-growth exposition of his/her construct: living digital art/design; in short, a post-human. Finally, this workshop marks my first DaDa performance but above all it looks at the ways in which post-human is digital thought design and as such a new self-product capable of breaking the repeatable – mimetic – language structure.
Jesenko
