Lecture Performances: Performing our in-progress research, film materials and sonic collaborations

Living Networks
Transmediale 01.02.2019 

Asia Bazdyrieva, Solveig Suess (Geocinema)Kyriaki Goni, Jussi Parikka.
Moderated by Jussi Parikka.

Featuring our sonic collaboration with Jessika Khazrik. 

Listen to talk here.
The image of the earth today is shaped by planetary-scale sensory networks. Technological infrastructures mediate what can—and cannot—be seen, felt, and perceived. Predefined connections within and between networks influence the way people relate to one another, to territories and the natural environment. Is it possible for other links to be established and different narratives to be told? Two projects, Geocinema and Networks of Trust, engage with these questions through their artistic practices and research methods. Their respective cinematic investigations—beginning with China’s digital Belt and Road initiative—and speculative scenarios—inspired by the prehistoric networks of the Aegean Archipelago—underline the need to queer hegemonic geopolitical imaginations. Different temporalities, layers of perception, and lived experience are embraced in a quest for multiple readings of the earth and its networks.

Meteorology is not Climate
Tentacles, Bangkok Thailand 04.01.2019

With Abhijan Toto, Pujita Guha, Lauren Reid. 
Curated by Geocinema.
Event link here

The act of cinematic perception—media theorist, Ute Hall states— connects a whole set of elements, technical as well as cultural, topological as well as historical orders, so that the filmic image can never be located as such but only considered in its effects, through different screens and viewing cultures. When speaking of remote sensing, satellites do not directly produce stills or films, instead they aggregate data which goes through numerous series of translations before being experienced as an image. With the simulation of climates, each are built through parameters of meteorological data, only to be later viewed and screened through different institutions, policies and actions where representations are further translated into matters. 

Here, vision is never disembodied. The question, “who images?” is still key in the types of knowledge extracted from beams of light. On the 18th of August, 1868, King Mongkut gathered a group of western scientists to Prachuab Khiri Khan, to witness a solar eclipse. This image of the solar eclipse acted as proof of a successful cosmological prediction calculated two years in advance, with its date now marked as Thailand’s official start of progress. But how can other visions of progress be seen? What other bodies may guide different image translations? What goes beyond prediction, beyond watching?
We invite Abhijan Toto and Pujita Guha from Forest Curriculum as well as researcher Lauren Reid to discuss ecologies and histories, where ideas around futures can never be seen as singular.

Future of the Zone 
ICA, London UK 12.12.2018

Jussi Parikka, Susan Schuppli, Metahaven, Solveig Suess (Geocinema), Ippo Pestellini.

Curated by Metahaven

Event link here.

Soviet science fiction writers Arkady and Boris Strugatsky’s novel Roadside Picnic (1971), is set in the aftermath of an assumed extraterrestrial event that has produced six ‘zones’ scattered around the planet. In these closed areas, strange and seemingly supernatural phenomena manifest themselves. The Strugatsky’s fiction infused the popular understanding of the Zone as a spatial typology of exception; an area in which implausible things become possible. Andrei Tarkovsky’s Zone in his 1979 film Stalker – based on the Strugatsky’s story – became a precursor to the fallout area around the Chernobyl nuclear reactor in Pripyat, Ukrainian SSR, in 1986. The latter is now known for its exclusion of humans, and its flourishing wildlife.
The Zone is an enclosed sector in which the exceptional happens. Originally conceived as a 'belt' or 'girdle,' it applies to geoengineering and geospatial design as much as to the notion of the accident. The Zone is also a policy model: from Special Economic Zones to freeports, tax havens to container transit docks, data centres to de-militarized areas, to the regulation of time itself, it renders entities of varying degrees of sovereignty capable of bending the rules. The Zone’s designation of partial, segmented freedom to certain activities, certain actors or agents, makes it a crucial constituent to platform economies of different types and scales.
At the intersections between climate and geology, artificial intelligence and energy, logistics and data transfer, architecture and environment, building and robot, user and citizen, human and animal, camera and set, atmosphere and reality – while going beyond any sense of (false) binary between nature and artifice – this symposium aims to investigate the feedback loops between intent and accident that determine the Zone.

The Influencers, Barcelona 26.10.2019

Watch talk here.

‘Geocinema’ considers planetary-scale sensory networks —cell phones, surveillance cameras, satellites, geosensors— as a vastly distributed cinematic apparatus: a camera. Sensing fragments of the earth each signal and transfer runs through their own sets of scales and temporalities while producing terabytes of raw data. Here, the representation of the earth is the sum of a decentralized editing process with its image anything but whole.

Their method takes queues from these techniques of sensing, tracing the ‘hows’ of their stitching processes used for imperial observation, surveillance, verification, and tracking. These processes contribute to a visual culture, whether planned or accidental, co-editing into an archive of and for an uncertain future-present. If this camera, through its montage and intervals, is framing a form of ‘geocinema’, they’d like to point it towards a mode of seeing otherwise.