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The Disappearance of LK project began with a real event, the disappearance of the artist L. K. on the road between Bogota, Colombia, and Zagreb, Croatia, in February 2000, and after a successful performance at the Iberoamericano International Theater Festival. The moment of LK's disappearance and absence is a well-documented event in various media and official documents of various institutions of the Republic of Croatia and the Republic of Colombia. Such documentation of the date of the disappearance, February 6, 2000, is a time stamp, resembling confirmations from the bitchain chain, which began the series, a chain of fragments of artistic performance. The time stamp of the project is not unambiguous, as in the bitchain process the time stamp of the creation of a new, unique bitcoin is recorded, but it is divided between several traces and archives, as well as points of view. Each subsequent change of status is recorded electronically, but only as the next part in a series started by the first time stamp. Both virtual currency and artistic performance begin with a “real event,” but that “thing” still exists as a flow, as an activity evidenced by a trace or digitally validated information about that activity. This event is a reference point for the dramaturgy of the text because it is in itself a textual template because it automatically, according to the principle of the database, produces questions known from the history of drama and the history of human culture in general. The disappearance of an artist corresponds to the theme for a textual template that could develop in different directions, and thus become a drama and theatrical performance. Such a play or drama can ask countless questions, the trajectory of which depends on the development of the dramatic situation and the dramaturgical means that the author chooses to use. For example, the question of the degree of connection of identity with a body, name, occupation, etc., as opposed to the identity associated with an event or activity. It is possible to develop a traditional dramatic situation that provokes political and social issues, about the individual's conflict with the system, about love and betrayal, about forgiveness and catharsis, or about living through memory, about writing a new identity and ways in which it is possible, etc. In digital culture, such possibilities, as well as the templates from which they arise and the ways in which they can be developed and presented in public discourse, have been recorded in databases as dramaturgical patterns of performance. By activating any dramaturgical pattern, the process of confronting the data in the performance is activated, and this data is a series of times started by the time stamp and continued by the records of the change of status. This establishes the execution time. Castells, citing Leibnitz, says that time is an order of "things", so without "things" there would be no time (Castells 2000: 488).
These things, and whose order produces time, in the project of the Disappearance of LK are in fact unstable art objects that appear occasionally in the form of digital art performance in digital and physical space. They appear as artistic performances that can be initiated by any of the co-owners of the project information chain. The person who initiates the project on his / her own initiative starts it in the status of the Initiator. The initiators can arbitrarily create any type of artistic performance from the available data, present it publicly, call the Disappearances of LK, point out that this is a project that began with the disappearance of "LK artists" between Bogota and Zagreb in 2000 and add their own interpretation. The vast majority of such launches use digital technology, cyberspace, virtual reality, and other technological capabilities of digital culture. Performances take place simultaneously in several time zones, on the territories of several continents, in front of audiences that are present both live and digital, previously prepared text, music, etc. are used, live performers perform simultaneously for live audiences and cameras and transformation portals. and data entry.

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