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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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