We are Absolute Power \+\ Joy.
We are the fatal leap into Emptiness. Alpha + Omega. War and Peace.
We radiate at all frequencies and seek not you but Pleasure.

We Ex.press. your interior world. We Lift u 2 Ex.perienss.
We may decide to enchant you and you shall surrender!

LOVE ME NOT!!




...


The problem I think goes back to our basic conception of the world.


Occident democracy has been built upon the dichotomy real\apparent.
from Euclid to Einstein western science has been based
upon the devaluation of human existence.

Yet ... among romanian peasants the ritual narration of stories
defends the house against the devil and evil spirits.
Still more, the narration leads to the presence of god.


... the intermediary world between this intelligible world of beings of pure light
and the sensible world ...

birth in farewell bodies

Walking over the world's eyelids
in speech that takes sense from the lips
and gestures that carve themselves
in the winds ...

This is my fair garment singed in fire.
and these are my prophet's odds and ends.
And this is my contorted face.
The face that did not know it could be beautiful.


Flame feeding on its own flickering
... a moist hope


Am terminat cu lucrurile marete
si planurile de anvergura,
cu institutiile mari
si succesele de rasunet.

Sint de partea acelor forte
umane invizibile, iubitoare,
marunte, care lucreaza de la un
individ la altul, furisindu-se
prin cotloanele lumii ca
firisoarele de radacina,

sau ca incretiturile abia schitate
ale apei, care, daca li se ofera timpul
necesar, vor fisura si cele mai
dure monumente ale semetiei.





Progress is inevitable for linear time destroys everything -
if formerly we have suffered from crimes. We now suffer from laws.

... In an advanced democracy, where progress is measured by the
extent that the police prohibits people from destroying themselves

Communism - the secularization of mysticism
Capitalism - the secularization of desire

We desire a bridge between the worlds of spirit and democracy


U radu je spas !!!

ORDNUNG \+\ DISZIPLIN

m9ndfukc.maCht.frei !!




...




Between thresholds. between states.
Poised on the brink of absurdity, else, a kind of attitudinizing male arrogance,
he flirts with bouts of macho extremism and slips over into dream and poetry
just as they grow most alarmed.

His implacably grave coolness is audaciously mannered ...
for him principle is merely habit.

We are what we repeatedly do.

One moment,
one shot,

alone in his room,
He impassively collapses in unexplained laughter.

We view him stretched out on his bed, the source of a silent spiral of cigarette smoke,
like a patient, tidy corpse-in-waiting, he is not just
himself, or some nameless nobody. He is the distilled essence of
solitary collaboration, suspended between a somnambulant calm
and self-destructive dedication.



Without emotion nothing matters.

Loving care is a condition that cannot be recreated,
though some have tried, only to discover that graceful aging
is more difficult to duplicate than the look of new and improved.






---



Twice upon a time

Pe-un picior de plai
Pe-o gura de rai

Beyond the looking glass
from within the passing of time

Stepped the fortune teller.
Incensed in cardamon and ambergris

veiling her cheeks in hair
turning gracefully as a deer

The arrows of her eyes
piercing the mist.

'I am the ruler and commander of Freedom', I thundered.

'I created the alphabet. Now hear my tale'

And she spoke
alone in all the world ...





Phylotic BodyScapes | Entheogenic Axioms : Poly-Scalar Heterotopic Botany



"All possible branches are real" (Borges, J.L. The Garden of Forking Paths)

Gardens were always optimistic reflections of the world, the liminal spaces between the known and unknown, matter and aether. Foucault describes gardens as the oldest form of heterotopias, a microcosm of species, the smallest parcel of the world in its totality: "The heterotopia is capable of juxtaposing in a single real place several spaces, several sites that are in themselves incompatible ... the oldest example of these heterotopias that take the form of contradictory sites is the garden."

Shifting away from millennia old, rigid and static instrumentalities of control on the one side and fictional representational effects on the other, Phylotic is a computational system employing dynamically relational assemblages for analysis, synthesis and cataloguing of regional folkloric and cultural artifacts' phenotypes into a library of seeds or DNA, that may be grown, mutated and hybridized upon infinitely variable topographies, transcending temporal, spatial, geographical and disciplinary boundaries, osmotically bleeding the real and virtual within each other, as a heteroglossic yet glabrous continuum.

Although the system is open ended, being suitable for biomimetics and cultural mimetics, within the current context we shall elucidate the latter, with a focus on pertinent Balkan folklore and its myriad manifestations and potentialities for fashion/bodyscapes design.

Employing processes of intensive genetic computation, distributed authorship and human/non-human agents in material/design praxis we adopt a syncretic methodology for reconciling and coalescing the disparate, even opposing, cultural traditions and regional sentiments of Balkan, germinating its multifarious seeds into a heterotopic multiverse of intricately entangled, real and irreal gardens patterned as phantasmagorical bodyscapes.

Through the mediation of a custom library of genetic algorithms, the system educes the hypostases, or DNA's from divergent regional artifacts' phenotypes, populating a genetic library of seeds for the incubation of novel garden types -- poly-scalar heterotopias. As opposed to individuations as subject or form, design is understood as genetic inscription. The parallel reality of the invisible code is a common ground for multiple actualizations, exploding design beyond the edges of human imagination, into a nomadic and unstable topology traversing spirals polyphonically within the plasticity of incandescent meanings and coruscating myriads, as an infinite abacus of fugue matrices, clarity and autopoietic complexity.

"When the sign loses its meaning, when it loses all possible meanings, then it becomes pure sign, naked sign, abstract sign, it enters deeper still into calculation, into mathematics, into money, (...) the number becomes a letter, the letter itself is a symbol, the information, the software undifferentiates itself, as if it were slowly entering its own faculty, its own nakedness" (Serres, Michel. Genesis)




In Phylotic, the human body becomes the most intimate heterotopic space, the breathing landscape onto which the computational system grows elaborate and sensuous bodyscapes/gardens.

The concept of bodyscapes emphasizes our approach to the human body as a breathing, livingscape and delineates our move away from the desacralized democratic vision of clothing as static, impersonal wearables towards a deeply symbiotic, relational one of "living with and being lived". Simultaneously we abandon the concept of clothes as cut and sewn, modular assemblages and adopt a bottom-up, intricate, non-linear, botanical view--clothes as grown and evolving bodyscapes. The skin becomes the garden; the human body, an intimate participant in the act of creation.

No longer does one choose a garment from a limited assortment of sizes and styles limited to a designer's imagination. Extending the complexity and infinite variability of the human body, Phylotic bodyscapes themselves, are infinitely variable and complex, deeply personal, evolving structures in space.


Having mentioned the concept of bodyscapes, we introduce the concept of morphological seeds/DNA. Phylotic bodyscapes are grown by computationally germinating cultural, biological and synthesized morphological seeds.

Morphological seeds/DNA are the structural, textural, and relational dynamics found in living organisms and cultural artifacts, eg. a lizard's skin, an intricate lace, a romanesco cauliflower, a leaf, one's own skin. Phylotic's computational algorithms analyze, educe and catalog a pattern's hypostasis or seed, subsequently employing genetic algorithms for hybridizing and mutating an assemblage of seeds, onto infinitely variable, poly-scalar topographies, from molecular to human to architectural scale.

While adopting the non-linearity of natural processes, Phylotic does not replicate their form in silico. It does not copy the form of a sunflower but employs the genetic decisions and accidents that led to the creation of a sunflower. (Phylotic puts the garden into the machine.)

One may, for instance, extract the morphological DNA from the delicate phenotype of a centuries old lace from Pag, Croatia, mutate it with a sensual Romanian 'marama' and evolve it into a phantasmagorical bodyscape on the topology of one's body, in whole or in part. Or perhaps, one prefers the deeply intricate pattern of a lizard's skin hybridized with the texture of one's own skin. Conversely, the system may extend persistency to ephemeral bio-states, eg. foam, procreating the fleeting morphological impulses into soft, tangible, whispering, membranic bodyscapes. The possibilities are endless and infinitely tempting.




Phylotic presents an invitation to rediscover the pleasure of gesture, the spirit of curiosity, the notion of intimacy and sharing. It embraces the idea of clothing as evolution and harmony with life, human body and environment, away from novelty for novelty's sake, towards an unpredictable yet dialogical, affective, continuos state of becoming. The human body is thrilling. Phylotic's bodyscapes embody the beauty of life -- joie de vivre, making clothing as thrilling as the body, coming alive with it, overflowing in its vitality.

It represents a novel approach in design, which dispels the methodologies of control, introducing us to new kinds of propositions and multiplex actualizations, exploding creativity beyond the edges of human imagination, towards the concept of clothes as responsive, autopoetic bodyscapes.

Phylotic embraces modern manufacturing methodologies, yet, it simultaneously subverts the parsimoniousness of mass production, transporting us to a time when clothes, and indeed everything was made "just for us", a time when our relationship to the things in our lives was deeply personal and affective.

Phylotic reasserts the human body as the most striking and obvious illustration of our presence. It reminds us that our bodies are the borders of our understanding. That the first things which belong to us are those that are actually physically a part of us--our eyes, our fingers.

And in doing so, it intimates the path across the solipsistic gulf. Where when one arrives, one knows that the future has joined with the past to make a circle ... outside time.


"When I'm alone, I want you to enter inside me,
I wish to wear you. Dissolved and integrated,
we are exploded into a nomadic, unstable topology
of ceramic ribbons and microfluidic channels,
of myriad phosphorescent gleams, of the
mysterious encounters, in indivisible dreams."



A kiss from paradise
From neznanie to sacred knowledge
From childhood 2 conscious childhood




Sometimes ... reality is too complex for oral communication
But legend embodies it in a form which enables it to spread ... all over the world.

Gheorghe Dan is a fairytale collector and director of research for 0f0003, a noctilucent, autocrine, hybrid topological laboratory, procreating liminal spaces and fleeting morphological impulses into soft, tangible, whispering, membranic multiverses.

Gheorghe's vast assemblage of intricate fairytales, theatre-plays, software systems, and audio-visual environments, have been exhibited internationally, embrocated with prestigious awards, and implanted globally in academic curricula.

His works have been published in academic journals, MIT's Computer Music Journal, Performance Research Journal, design books, 72dpi and 72dpi.Anime, N2O.Japan, with lectures and presentations at ZKM, IRCAM, Siggraph, V2-DEAF, CICV, FCMM, DINA, Sonar, Transmediale and the Art Institute of Chicago.

Complementing Nebula.M81 which was awarded the coveted 1st prize at the Bourges and Transmediale festivals, he has authored the influential NATO.0+55, a modular, realtime intermedia authoring environment which inspired the realtime audio-video revolution, bringing together a panoply of disciplines, artistic genres, and specialists. His ground breaking software environments have been employed in acclaimed music videos, eg. U2, professional events, such as US-Open, theatre plays and innumerable artistic installations.

His current research explores a nuanced bouquet of intuitive programming, autopoetic systems, hybrid realities and heterotopic multiverse continuums. In collaboration with an international consortium of artists and organizations he is directing the research and development of Balkan.OS, the first multi-world operating system.