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Šum#9 Ni Manifest Ali Skupek Vizij Okoli Dileme, Ki Je Bila V Določenem Obdobju Znana Kot Čto Delat?

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Šum#9 Ni Manifest Ali Skupek Vizij Okoli Dileme, Ki Je Bila V Določenem Obdobju Znana Kot Čto Delat? Šum #9 Exit or Die Koreografija postajati- Kirurginja -truplo Kazimir Kolar Voranc Kumar Skrivni Scarlett Jo- Jeruzalem hansson Le- Miroslav Griško aps to Your Advanced Lips An interview with R. Scott Bakker Persistent Primož Krašovec, Marko Bauer Threats in the Izhod Arts iz filozofije Patrick Steadman Robert Bobnič Šum #9 Exit or Die 987 Partnerji in koproducenti Društvo Galerija BOKS Društvo Igor Zabel drustvoboks. wordpress.com www.igorzabel.org Galerija Kapelica www.kapelica.org Galerija Miklova hiša www.galerija-miklovahisa.si Partnerji in koproducenti Galerija Škuc galerija.skuc-drustvo.si MGLC Mednarodni grafični likovni center www.mglc-lj.si Mestna galerija Ljubljana www.mgml.si/ mestna-galerija-ljubljana PartnerjiŠum in koproducenti #9 MG+MSUM Moderna galerija www.mg-lj.si UGM Umetnostna galerija Maribor www.ugm.si Zavod Celeia Celje Center sodobnih umetnosti www.celeia.info 990 PartnerjiŠum in koproducenti #9 Aksioma www.aksioma.org OSMO/ZA www.osmoza.si Pizzerija Riko Foculus www.riko.si www.foculus.si 991 Šum #9 1003 Kirurginja Kazimir Kolar 1011 Skrivni Jeruzalem miroslav GrišKo 1029 Advanced Persistent Threats in the Arts patricK steadman 1041 Koreografija postajati-truplo: kratka genealogija umirajočega telesa v računalniških igrah voranc Kumar 1073 Scarlett Johansson Leaps to Your Lips An Interview with R. Scott Bakker primož Krašovec, marKo Bauer 1101 Izhod iz filozofije: François Laruelle roBert BoBnič 1121 Points of View: On Photography & Our Fragmented, Transcendental Selves matt colquhoun 1137 Autism Wars: Neurodivergence as Exit Strategy dominic Fox 1151 Kapitalizem in čustva primož Krašovec 1175 On Letting Go arran crawFord 992 Šum #9 Uvodnik Izstop, exit, predstavlja relativno pogosto paradigmo v umetno- sti. Od boeme v romantiki, avantgardnih izstopov v življenje, prisilnih izstopov zaradi nevključitve oz. marginalizacije praks do zaključkov karier, praks neprakse in smrti. Lahko gremo celo tako daleč in napišemo, da je prav exit najbolj romantizirani kliše umetnosti, in strinjal bi se tudi Žižek, ko pravi, da je ideo- logija najmočnejša ravno na svojih robovih. Vendar smo si tukaj exit zamislili drugače. Seveda, izstop nas zanima kot redifiniranje pogojev umetno- sti, kot praksa poskusov novih oblik razmišljanja o tem, kaj bi umetnost sploh bila, potem ko se okoli nje vršijo velike spre- membe na področju organizacije družbe. Seveda, zdi se, da je svet vse bolj tuj umetnosti in da ji internet, nove oblike vojn, kriptovalute, memi, tehnologije, kognitivne znanosti, bioinže- niring, Cambridge Analytica itd. delajo precej težav, kajti ne prihaja do deformacije celotnega polja umetnosti, temveč le do priključevanja teh zagat kot tem, in to brez rekonfiguracij. Seveda, gre za vprašanje možnosti popolne rekonstrukcije polja umetnosti v situaciji, ki je malodane enaka nenadni menjavi go- spodarskega in političnega sistema: ali bo to sploh še umetnost ali pa bomo imeli opravka z nečim drugim. Ampak vse to je beside the point. Šum#9 ni manifest ali skupek vizij okoli dileme, ki je bila v določenem obdobju znana kot Čto delat?. Te dileme tukaj ni. Spomnimo se Zupančiča v Šum#5: level 2. Sprememba se je že zgodila, zdaj pa exit or die. In v tem je razlika. Prva možnost situacijo razume kot potrebo po reinvenciji, preusmeritvi po- sameznikovega delovanja. Druga pa kot potrebo po povečanju intenzitete. Prva se vidi kot sodobna, kot na špici časa, ki ga bo odtlej spremenila vsaka njena gesta. Druga se vidi v zaostanku za prihodnostjo. Prva se vidi za volanom avtomobila. Druga vidi, da je vozilo avtonomno, in se sprašuje, kje v motorju se nahajajo hitrostne blokade, in na redditu išče bootleg removal tutorial. V tem momentu je umetnost na terenu svoje bliskovite širitve ne le s temami, žanri, temveč tudi z infrastrukuro in 993 Šum #9 kapitalom zaostala pri koncentraciji svojih primarnih trgov: pro- dukcije v(r)ednosti. Znanost in tehnologija s tem širjenjem nista imeli problemov, umetnost pa. Od tu naprej sta dve možnosti, ali se umetnost opusti kot nasedlo naložbo, kot preveliko držav- no podjetje. Ni too big to fail. Ali pa se uniči, kar je v njej trenu- tno živega, da bo umrla in bo na njenem mestu kar najhitreje nastalo nekaj novega, nekaj novim razmeram prilagojenega ali pa še neprilagojenega. Omenjena bliskovita rast produkcije v umetnosti je bila pos- ledica produkcije blaga nizke dodane vrednosti. Gre za industri- jo second tier merchandise drugih sistemov za trge zabave, ki pa je bila odvisna od načrtne vsakokratne devalvacije specifičnih pa- rametrov v umetnosti.1 Izjemno zanimiv set produktov s širokim trgom bo v naslednjih letih povozil user-specific content creation, kjer so algoritmi napredovali od kuriranja feedov h generiranju novih in za vsakega uporabnika custom narejenih vsebin.2 Potreben je torej umeten obrat, takšen, kot je bil izveden v drugih gospodarskih sistemih, na Kitajskem na primer. Umetnost je dovolj velik produkcijski ekosistem, vsebuje dovolj velik dotok kapitala, delovne sile in institucij, da lahko opusti proizvodnjo nizkocenovnih produktov za druge branže (filozofijo, teorijo, znanost, nove tehnologije, politične projekte itd.), se preusmeri v R&D ter začne proizvajati nekaj in-house. To, da se posveti specializaciji, pomeni, da ukine geste psevdo- aplikativnosti. Preneha z dokazovanjem ali, bolje, deklarativnim izkazovanjem (performiranjem) svoje aplikativnosti, kot to v zadnjem valu poskuša početi že od propada avantgard v 80. da- lje (s serijami sandbox walk-throughjev s cheat engini, ki so nastav- ljeni na godmode). Prestrukturiranje v začetku rekonfigurira polja raziskova- nja. Novih parametrov ni mogoče določiti vnaprej, saj tudi če bi 1 Načrtna/umetna devalvacija je omenjena, ker v makroekonomiji deluje v paru s produkcijo blaga nizke dodane vrednosti. Primer: Kitajska je večkrat načrtno devalvi- rala svojo valuto, da je lahko za zunanje trge znižala cene delovne sile. Industriji blaga visoke dodane vrednosti teh stragegij ni treba uporabljati, saj je strošek delovne sile relativno manjši delež končne cene. 2 Če so računalniške igre interaktivne in če so prav tako določena oblika glede na uporabnika spreminjajoče vsebine, je user-specific content creation to, da ne le da se stvari v igri prilagajajo gestam igralca, temveč se spreminja vse. In z vse mislimo vse, kar generira podobo, torej od tega, da sploh gre za igro, kakšne podobe, njihova razmerja, količina, vse. 994 Šum #9 jih, bi veljali le nekaj sekund. Vizualno je tukaj placeholder za še nedefinirano intenzivirano področje ukvarjanja, ki se bo obli- kovalo na mestu umetnosti. Vizualno postane znanost, postane tehnologija. Ne gre za proučevanje efektov, temveč za vzposta- vitev odnosa do strukturacije kot grajenja sistemov v natančnih kompleksnostih ter v jasni preverljivosti doslednosti konstruk- cije – do zadnjega detajla. Zraven spada tekmovalno vzdušje v poglabljanju teh polj ter brutalen peer scrutiny. Znanost se ukvarja s koncepti in stroji, kot so črne luknje, teorija strun, kvantni računalnik, brez vnaprej določenih, temveč le s spekula- tivnimi aplikacijami teh konceptov ali strojev. Dovršitev, razvija- nje koncepta. Umetniško delo kot stroj brez aplikacije, kot kvan- tni računalnik: struktura neslutenih možnosti, bolj sofisticirana od prejšnjih različic stroja ter možna šele na podlagi cele vrste dognanj s področij fizike, tehnologije itd. Umetnost ni več /pol/, temveč se znotraj nenačrtovanih in neomejenih praks zgodi acefalizacija in fragmentacija praks. Usmeritve so razpršene in brez trajnih zavezništev. Raziskovanje poteka „neinteligentno“ (Dennettov competence without compre- hension), brez skupnih načrtov in njihovih izvrševanj. Umetnost postane infrastruktura določenega raziskovanja, ki je preverljivo skozi različne discipline. In ni privilegirano področje izražanja mnenj, moraliziranja, področje praznih eksekucij že vnaprej dognanih konceptov sosednjih intelektual- nih produktov. Temveč področje polnega tveganja. Prestrukturiranje proizvodnega sistema umetnosti ter polna investicija v lasten R&D proizvede set produktov, ki kotirajo na trgih z že vzpostavljeno visoko likvidnostjo (preverljivost in konvertibilnost), kot sta trga znanosti in tehnologije. Proizvodi visoke dodane vrednosti začnejo prevladovati in nadomestijo protekcionistične prakse selektivnega uvoza intelektualnih pro- duktov preko preferiranih ideoloških imenovalcev. Z razmišljanjem o oblikah kot tehnologiji in s pretočnostjo proizvedenih vrednosti pride do pospešitve njenih evolucijskih ciklov. Spremembe med cikli niso izključno permutacijske, temveč pride do proliferacije med seboj razlomljenih in kon- kurenčnih mikrosistemov, ki se vzpostavljajo brez kontinuitete in z različnimi možnostmi aplikacij. Fragmentacija umetnosti 995 Šum #9 v skupke lokalnih katastrof in intenziviranih poskusov. Vizual- ni inženiring. In tako se umetnost vključi v operacije največjih pomenov, ni le njih interpret. V raziskovanje vesolja. V načrtovanje vo- jaških vdorov. V mutiranje nevronskih povezav. V meddržavne tajne operacije. V svetovanje glede strukturiranja korporacij in sovražnih prevzemov. V vzajemne sklade. V raziskovanje kvantnih računalnikov. V procese samoučenja AI. V prostore med besedami. — Andrej Škufca 996 Šum #9 Editorial In art, exit is a relatively common paradigm. From bohemia in Romanticism, avant-garde exits into life and forced exits due to non-integration or marginalisation of practices to career end- ings, practices of non-practice and death. We could even take a step further and say that exit is the most romanticised cliché
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