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This is Immanuel Kant's Facebook. Although it looks like a picture to you, it's actually a screen. The images it portrays change meaning as they travel through time. Immanuel Kant's Facebook project was created 2007., at the same time as the emergence of digital social networks. In 2007, society could not accept that what is proclaimed as serious, was also funny. Today we have memes about everything, including him. The result of this screen, Immanuel Kant's Facebook is the circulation of images. Kant's thought in hip hop, rap, opera and graffiti versions, even folk auto irony. But for the periphery of Europe, Kant is an extra-systemic authority, designated as such by great powers from outside. Kant as a omnipotent god, what an irony! It is inappropriate for it to be funny or emotional. Circulation of meaning continues! In 2007, I locked myself in an art gallery for seven days and nights and declared myself an outcast. In real life, I have been an outcast since ever: I was arrested as a thirteen-year-old child for writing political graffiti, prosecuted because of my father's political resistance, I fought in the war for democracy in the nineties, but also rebelled against the nationalist appropriation of my generation's struggle for democracy. So, I am not your usual artist! I actually have lived life and always looking for a trouble! Outcast is my natural state! In 2007, I made this picture and polyphonic project, Immanuel Kants Facebook. It was beginning of the digital culture, and all of humanity faced the prospect of being rejected, as outcasts in its own reality. Digital technology offered something completely new to humans tired of rationalism and independence and seemed to be eager to surrender to some new supernatural omnipotent system. An supernatural power that was human at the same time, digital technology! Because i created the live Kant machine. A machine for producing meaning from input information, a kind of a live computer. It had all the parts, a database created by the visitor's communication with me, mediators in converting information into meanings, stabilizers that transform these meanings into information objects, according to previously memorized patterns. Myself, I am a human body and a human emotion that internally operates with information. A lot of people visit the project and directly argue with me. They want me to be quiet or to make clear some ideas. National television did their version of a news about me. I notice how many unexpected references and patterns of thinking and communication appear in such short dialogues. I turn them into information points, I give them meanings, I turn banal sentences into ritual chants and prayer to a digital heaven! The basic criterion is awareness of the limitation. I turn language input into images on a large canvas on which I paint with a traditional tool, the human body. This should ensure a fixed meaning. But just by calling the picture Immanuel Kant's Facebook, the circulation of meaning was set in motion. As if creating proto memes, people turned Kant's words and texts into hip hop and rap songs, opera version, graffiti, folk parody, rituals… As a human operator inside the computer, I performed two roles. An analyst, a scientist who analyzes data without interest. And as an artist today, a wild shaman who ritually celebrates digital technology, trying to use emotions to create a language comprehensible to himself. MACHINE LOVES YOU – GIVE US YOUR DATA! Fifteen years later, after research projects in Japan, India, China, South and North America, in 2022. I am creating a new Kantian machine at the Museum of Contemporary Art in Zagreb. After pandemic social shock, human race has found a way not to lose Kantian rational individualism, but to surrender to a higher power at the same time. The era of highly developed digital culture and the rise of artificial intelligence has started! We will create a god ourselves, in our own image and opportunity! God to whom we will pray but whom we humans will control! Kant's ideas seemed to me more current and even more fun than ever before. What is left for us humans? Our strange and weak body, our emotions that machine intelligence still cannot understand, our innovations. So, I created a temple of data sacrifice where I offered the machine all the information about my identities to be erased. Thus purified, I began to negotiate with the machine, challenging it on a terrain that is not its own, with emotions. As a compromise, machine intelligence and I, the human operator, create six personalities from six basic human emotions. We called them, unstable gods. They came down among us, humans, and lived among us through the portal of the 3d printer. I vibrated between two identities, analyst scientist and wild shaman artist. 1. The analyst coldly analyzes the data and assigns values to the objects. 2. The shaman himself creates objects and sends them ritually through time and welcomes them transformed. He prays to them with liturgies and rituals, even though he created them himself. CONCLUSION: The two founders of our age, Kant and Tesla clearly tell us that we are impulses that vibrate between the membranes of our limitations. We are capable of expanding these boundaries and achieving new forms of awareness of limitations. Instead of returning to the collective, divine or politically manipulative, we can continue to explore, be fun, provocative and even desperate and combative. Kant never said that there is an end, that we will stop at some point. It is difficult for all of us to live without final solutions and divine laws, we feel like drifters and sailors without a favorable wind. But do we have to replace that adventure with constructing a mechanical god that we will worship even though we know that we are his creators?


The human performer is enclosed in a communication mechanism in which it is equivalent to the coordinating computer program that is first activated when the computer is started, the BIOS (Basic Input / Output System), whose function is to recognize, initiate and coordinate all systems involved in process. Bios is also a term used to denote the internal structure of biological organisms, but also the sphere of living organisms that is constantly subject to some control, but, writes Mitchell, "which can in one way or another resist that control, insisting on 'their own life'" (Mitchell 2005: 313). This control, which is constantly imposed on the bios, can be described by the term cybernetics, which comes from the Greek name for helmsman or control control. It was this resistance of the biological bios to the function of the computer BIOS that was the starting point of this artistic performance. The potential dramatic situation of this artistic performance is based on what Mitchell defines as "the restoration of the ancient struggle between image and word, idol and law" or the relationship of bios and cyber which is "rewriting the traditional dialectic between nature and culture, human beings and their tools, artifacts , machines and media - in short, the whole 'artificial world' as we used to call it ”(Mitchell 2005: 314).

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The central performance interface simulates a motherboard, a material set of all actions that interact to drive a computer. In physical space, it is a dwelling called Habitat, after the name of the computer community from 1986, which first used a graphical interface, a visual chat room where participants were first introduced to digital avatars. Laurel writes that the computer game and community Habitat is the forerunner of social media and online mass games (Laurel 2013: 120). The topography within the Habitat / motherboard is modeled on the first motherboard of the first personal computer, the Apple 2 from 1977. The parts are also presented in colors; the central processing unit (chip) is simulated by a red tent, electronic resistors by various yellow, green and blue objects, furniture, etc., the cooling unit is represented by a metal fan, the screen is simulated by a large wall screen that constantly changes colors and contents, keyboard black machine, etc. The functions and activations of the components are determined by my private and public life in the Habitat / motherboard, my identity is reduced to information that others access through the media and that they can use in arbitrary fictionalization. Anyone can access the interface, but this is only possible with some kind of mediatization, for example with the help of a camera and camera of TV reporters, cameras and mobile phones of visitors or mediated peering of viewers (through holes in the walls of the apartment), which suggests that the interface is not only mine is at the same time public and as such subject to change. Any information that comes to me is always a translation of information about me, about my activities, condition, project and as such derives into the next translation, the print on the screen / wall screen. The performer's body, my body, responds to any external stimulus that is intentionally accessed and translates it into output information that is recorded by hand on a screen / wall screen. A symbol that a user or player moves in a video game, such as a pointer, hand, avatar, or any other symbol, Kramer calls a data body: “Generated by a computer program called the semiotic data-body of the player, which is necessary for interaction in the digital environment. While the player physically remains outside the digital game world (which Laurel calls the stage), his semiotic body replaces him in this world (according to Laurel: the stage). As the semiotic body is generated according to the rules and fiction of the play, it fits the stage perfectly. The player manipulates this body, and with its help the game world, and observes the results of his manipulation. In this way he becomes his own spectator, so that playing a video game can be considered a kind of self-observation ”(Ripll 590 of 692). The viewer of the art performance Facebook Immanuel Kant enters the information into the system in front of him and then observes how this information develops with the help of the artist's data body and ends up in the presentation interface on the wall, screen / image of Immanuel Kant's Facebook page. The performer, in addition, does not execute the user's orders literally but, visibly, comments on them, reworks them, turns them into arbitrary performances or even completely ignores them.

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