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Hyper-Objects: Acousmatic Music in Connection. At Planetário do Porto
Concert 1
Wednesday, May 29, 9:30 PM - 11:00 PM
Dome of the Planetário do Porto – CCV
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Concert 2
Thursday, May 30, 6:00 PM - 7:30 PM
Dome of the Planetário do Porto – CCV
Explore the captivating universe of contemporary acousmatic music and delve deeply into the realms of electronic sound experimentation surrounding the concept of hyperobjects. In a captivating blend of art, science, and technology, the event presented by Absonus Lab – Sound Research, Technology, and Culture in collaboration with the Porto Planetarium – Centro Ciência Viva promises two nights of sensory immersion.
At the heart of the conceptual discourse of this event lies the intriguing concept of hyperobjects. These entities challenge conventional boundaries of time and space, existing on a scale that surpasses human comprehension. Hyperobjects encompass far-reaching phenomena such as climate change and ecological crises, transcending immediate human experience. Their distributed presence poses challenges to the perception and understanding of their full nature, raising profound questions about the nature of existence. On the other hand, acousmatic music emerges as an exploration of hidden sound sources, focusing on sound detached from its visible origin. It is a form of artistic expression that fits perfectly into the exploration of hyperobject concepts, as it shares characteristics of non-locality, temporal proliferation, interobjectivity, and phased causality.
In acousmatic music, sounds are disconnected from their visual sources, allowing the listener to be immersed in an abstract sonic environment without a specific location. The compositions presented at this event enable listeners to embark on a sonic journey devoid of imagery, revealing the full potential of auditory perception in stimulating imagination and interpreting the concept of hyperobject. Interweaving creative and enigmatic expressions, the event seeks to reveal new sensory and intellectual dimensions about the limits of our apprehension of the world.
At this event, artists not only present their compositions but also offer their personal interpretations of the concepts of hyperobject. Their sounds serve as portals to unravel the mysteries of the universe, revealing new layers of meaning, encouraging everyone to ponder the beauty, cacophony, and complexity of the world that surrounds us.
Experience the works of established and emerging composers reproduced through an eight-channel audio system, transporting you to an immersive universe of sound.
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Concert 1
Wednesday, May 29, 9:30 PM - 11:00 PM
Dome of the Planetário do Porto – CCV
Alberto Tudisca with the composition "Isola"
Bracha Bdil with the composition "Urban Nature"
Daniel Blinkhorn with the composition "Kibuyu"
Daria Baiocchi with the composition "Hyperloop"
Edgerton Michael with the composition "Wassermann"
João Pedro Oliveira with the composition "La Mer Emeraude"
Jorge Ramos with the composition "Paysage"
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Concert 2
Thursday, May 30, 6:00 PM - 7:30 PM
Dome of the Planetário do Porto – CCV
Artiom Constantinov with the composition "Information Disorder"
Claudio de Pina with the composition "Ceci n’est pas une…"
Manuella Blackburn with the composition "Home Truths"
Mauro Diciocia with the composition "Eletrotopia #2410"
Panayiotis Kokoras with the composition "Ai phantasy"
Paul Oehlers with the composition "Flux Hammer"
Yunjie Zhang with the composition "Le Caméléon"
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Duration of each concert: 90 min.
Recommended for ages 10 and up..
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Curator Hugo Paquete
Design Luna Paquete
Production assistant Erica Frota
Colaborator Leonardo Afonso
Production Absonus Lab
Support Planetário do Porto – CCV, CIAC and FCT
Porto, May 2024
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This work is financed by national funds through FCT – Fundação para a Ciência e a Tecnologia, I.P., under the project UIDB/04019/2020
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hyperobjects ILLUMINATI
Timothy Morton described hyperobjects as things that are spread out in both space and time in contrast to people. They include events such as black holes, ecosystems like the environment, nuclear materials, as well as created by human items like grocery bags or the capitalist machinery, going above our characteristic knowledge and understanding of objects. Hyperobjects have a few common traits:
Viscosity: In reality they seem to remain to those who participate with them, hyperobjects are referred to as having viscosity. These impact both social and sensory areas in an important and lasting way.
Nonlocality: Hyperobjects are not in a fixed location or have no physical presence in any localized manifestation. They extend above what we as humans are able to sense or physically interact with.
Temporality: Unlike the human-scale interactions we are used to, hyper objects function on vastly different temporal scales. Some hyper objects, such as planets, display Gaussian temporality and produce temporal vortices under the influence of general relativity.
High-Dimensional Phases Space: Hyperobjects occur in a high-dimensional period space, which may render them momentarily unnoticeable to human perception or difficult for humans to comprehend.
Interobjective Effects: Through the connections between the aesthetic attributes of goods, hyperobjects can be discovered and explored. The dependent nature and link for different things is an example of how it effects.
It's essential to point out that hyper objects exist beyond one's understanding or sight. They are "hyper" in regard to all entities, even non-human elements like bugs, limes, or sunlight. Hyperobjects have enormous consequences on human social and mental space, altering established concepts of reality and our relationship with the world. Besides, hyperobjects gives birth to a new era of human existence defined by hypocrisy, frailty, and fragility. Inconsistency develops due to the unavailability of a metalanguage, leaving us anew aware of these boundaries in the face of ecological calamities. The weakness stems from the gap between the phenomena and its itself, which turns into disturbingly visible. Lameness points to the underlying fragility of all entities, brought into focus by hyper objects.
In the areas of art and skills, hyper objects represent what Morton labels the Age of Asymmetry. They're not just collections or methods but things in their own right, challenging anthropocentric thinking and spawning a distinct kind of realism and non-anthropocentric philosophy known as object-oriented ontology.
By comprehending hyper objects through Morton's paradigm, we may realize their major implications for philosophy, human perception, and our interaction with the environment.
Illuminati Conspiracy Theories as Hyperobjects
Conspiracy theories, particularly those involving the Illuminati, cover a wide range of tales and rulings that claim powerful, covert forces are in charge of world affairs.
Some conspiracy theorists think that the Illuminati, which is frequently depicted as a covert community at large, is a dominant organization that dominates the entire globe and encounters massive influence.
Historical persons, signs, hidden gatherings, claimed rituals, and specific occurrences are instances of concrete items that relate to Illuminati conspiracy theories.
Specific assertions claimed about the Illuminati in conspiracy theories include their alleged role in influencing systems of government, monitoring economies worldwide, shaping popular culture, and influencing world events to advance their own goals.
Numerous elements of popular culture, which might include the music industry, has been corrupted by conspiracy theories about the Illuminati.
Structure and Concrete Objects: Conspiracy theories, which include those pertaining to the Illuminati, span an extensive variety of myths and views that powerful, secret organizations are in charge of world affairs.
Some conspiracy theorists think that the so-called Illuminati, which is frequently portrayed as a covert community is a mighty organization that controls global affairs and has immense authority.
Historical individuals, symbols, clandestine gatherings, purported rituals, and specific occurrences are examples of concrete items linked to Illuminati conspiracy theories.
Particular claims made about the Illuminati in conspiracy theories include their supposed role in influencing governmental systems, controlling economies, influencing popular culture, and leading global events in pursuit of their own aims.
Historical Events: In the music industry, Illuminati conspiracy theories frequently link to particular historical events and charge the secret society with having ulterior goals and objectives. For instance, there have been conspiracy theories surrounding the deaths of well-known singers like Tupac Shakur and Kurt Cobain, with some theorists alleging Illuminati involvement in their untimely end.
Icons of the Music Industry: According to conspiracy theories, leaders in the music industry are either Illuminati members or pawns who help the organization maintain its covert power. Theorists have speculated about artists like Jay-Z, Beyoncé, and Rihanna, looking for purported Illuminati symbols or messages in their music videos, lyrics, and public appearances.
Symbolism and Imagery: Within the music industry, Illuminati conspiracy theories frequently center on the use of symbols and imagery. It's thought that record covers, music videos, and stage performances include hidden messages that include the all-seeing eye, pyramids, and various other occult symbols.
Industry Control and Hidden Agendas: Conspiracy theorists assert that the Illuminati exercises control over the music industry, influencing artists, their messages, and the general direction of mainstream music. These symbols are seen as evidence of the Illuminati's influence and control over the music industry. They assert covert goals such as normalizing specific concepts, expanding materialism, or subliminal mind control. These theories frequently make reference to alleged connections between record companies, industry officials, and the Illuminati.
Cultural Impact and Influence: Conspiracy theories about the Illuminati in the music business mirror broader cultural worries and apprehensions. They play on cultural anxieties about secretive forces, authority, and the veracity of popular culture. These beliefs have persisted for a long time, which demonstrates their ability to pique public interest and spark lively disputes.
Material and Immaterial Dimensions
The tangible components of Illuminati conspiracy theories include historical sources, presumed evidence, symbols, and things that have been linked to the Illuminati.
The narratives, theories, and ideas surrounding the Illuminati are presented in the immaterial realm. It takes onto account ideas of hidden data, covert networks, power relationships, and active control mechanisms. Many people's imaginations have been captured by conspiracy theories about the Illuminati's impact on the music business.
Material Evidence
Those who believe in conspiracy theories frequently cite what they consider to be tangible proof of the Illuminati's participation in the music business. Physical examples of the Illuminati conspiracy theories' supporting evidence include;
Photographs and videos: Visual evidence, such as manipulated images or music video frames, is frequently presented as proof of Illuminati symbolism or involvement in the music industry.
Documents: Conspiracy theorists refer to allegedly leaked documents, lyrics, or hidden messages that they claim contain evidence of the Illuminati's control and influence.
Artifacts: As proof of the Illuminati's existence, some theorists cite purported esoteric objects or symbols utilized in musical performances or album artwork.
It is significant to highlight that there is much discussion surrounding the validity and interpretation of such physical data, and that the mainstream industry and experts frequently reject these assertions.
Technological Aspects
The spread and development of Illuminati conspiracy theories beneath the music industry have been significantly aided by technology, especially digital platforms, social media, and online forums. The primary components of technology to think about are:
Digital Platforms: Online venues for the dissemination and discussion of Illuminati conspiracy ideas include websites, forums, and music streaming services. These platforms make it possible to exchange knowledge, build communities, and spread theories.
Social media: The spread and ubiquity of Illuminati conspiracy theories is greatly aided by social media platforms. The rapid spread of theories is facilitated by hashtags, viral content, and algorithmic distribution, which connect like-minded people, encourage information sharing, and strengthen beliefs.
Online Communities: Specific online groups for the music business and conspiracy theories give believers a place to interact, discuss supporting data, and exchange views. The growth and spread of Illuminati conspiracy ideas are sustained by these communities' encouragement of interaction, affirmation, and the creation of echo chambers.
The impact of technology on the spread of Illuminati conspiracy theories inside the music industry's material dimension includes asserted physical evidence. The material features of Illuminati conspiracy theories in the music industry can be better understood by looking into the reliability and context of tangible evidence as well as by comprehending the function of digital platforms and online communities.
Conspiracy theories, like those centered on the Illuminati, have a profound impact on humanity. These theories are discussed by people who play a variety of roles, such as creators, believers, skeptics, or debunkers. There are psychological and sociological aspects that contribute to the attractiveness of Illuminati conspiracy ideas.
Human Relationship
The human desire for explanation is a fundamental role in the appeal of Illuminati conspiracy ideas. Conspiracy theories give an explanation for complicated occurrences and phenomena in a world that is complicated and frequently incomprehensible. People who believe in the Illuminati find comfort in the idea that there is an underlying order or governing force behind what appear to be random events. They attribute hidden machinations and covert agreements to them.
Another psychological component that feeds our obsession with Illuminati conspiracy theories is our mistrust of authority. Many people believe that established organizations, governments, and authority figures are dishonest or unreliable, which disillusions them. Thse feelings of mistrust and cynicism toward individuals in positions of authority resound with the notion of a strong hidden society like the Illuminati controlling world affairs.
The link between people and Illuminati conspiracy beliefs is also influenced by cognitive biases. For instance, confirmation bias encourages people to seek out and interpret information only in ways that support their previous opinions. People who are convinced that there is an Illuminati conspiracy may actively look for material to support their theories while discounting or rejecting any information that contradicts them.
In addition, the appeal of Illuminati conspiracy theories is driven by human desire for protection or guarantee during moments of uncertainty. Humans can search for narratives that offer a feeling of peace, oversight, and predictability throughout times of societal upheaval, economic unpredictability, or instability in politics. The idea that an undercover group like the Illuminati is orchestrating world events provides a condensed explanation for complicated circumstances as well as a sense of comprehension and control over the unpredictable.It's common for conspiracy theories to gain popularity in uncertain or challenging situations, particularly the ones involving the Illuminati. Individuals who feel alienated or disenfranchised can feel empowered by the alternative narratives they give, which pose hazards to conventional explanations. People can exercise their own agency and strive to make sense of a confusing reality by relying in Illuminati conspiracy concepts.
Humans fascination with Illuminati conspiracy theories is rooted in cognitive tendencies like the need for justification, mistrust of authority, cognitive biases, and a desire for certainty or control. In times of ambiguity, crisis, or societal upheaval, these theories become more popular because they present opposing narratives to is generally accepted and give individuals trying to find explanations a sense of empowerment and understanding.
Epistemological and Cultural Context
Epistemological Challenges
a) Cognitive Biases
Confirmation bias, pattern-seeking, and motivated thinking are some cognitive distortions that frequently play a role in Illuminati conspiracy beliefs. People who suffer from confirmation bias tend to look for and interpret data that supports their preconceived views of the Illuminati. Perceiving connections and patterns even when they may be accidental or nonexistent is a key component of pattern-seeking. Individuals are motivated to interpret and justify the evidence in a way that supports their preconceived views..
b) Information Landscape
Conspiracy theories about the Illuminati have been adopted and persisted in part due to the dissemination of false information, echo chambers, and filter bubbles in the information landscape. These theories are fertilized by misinformation campaigns, whether they are carried out on purpose or not. Echo chambers promote preconceived notions and prevent exposure to alternative viewpoints, while algorithmic content curation filter bubbles further solidify conspiracy theories by providing only information that supports the opinions of the user.
Cultural Factors
Political Climate
The general political climate has an impact on the popularity of Illuminati conspiracy theories in the music industry. Political ideologies, populism, and social polarization frequently cross paths with conspiracy theories. The adoption of these theories is fueled by skepticism toward established institutions and a need for alternative narratives, especially during times of social and political turmoil.
Media and Technology
It is doable to ignore the part that media manipulation, disinformation efforts, or the liberalization of information have played in the propagation of Illuminati conspiracy ideas. The media environment, both traditional and digital, is crucial in spreading and reinforcing these hypotheses. The rapid dissemination made possible by social media platforms, together with the simplicity of generating and disseminating content, contributes to the viral nature of Illuminati conspiracy theories in the music industry.
Societal Trends
The growth and pervasiveness of Illuminati conspiracy ideas within the music industry are influenced by cultural transformations, economical circumstances, and societal crises. These beliefs frequently appear when there is societal unrest, economic inequalty, or cultural upheaval. They give people a sense of purpose, autonomy, and control in the face of apparent chaos or power disparities.
Our Relation to the Hyperobject
Believers:
Numerous psychological, sociological, and emotional elements have an impact on the beliefs of followers of Illuminati conspiracy ideas. These elements may include the need for alternative explanations, dread of uncertainty, mistrust of authority, the desire for a coherent worldview, and a sense of empowerment or agency gained from believing in hidden powers. In online communities that support their ideas and foster a sense of identity and shared purpose, believers frequently feel comfort and a sense of belonging.
Skeptics and Debunkers
In order to disprove Illuminati conspiracy ideas, critical thinking, scientific literacy, and debunking work are essential. To contest and refute these hypotheses, skeptics and debunkers use empirical study, reason, and evidence-based reasoning. People who are scientifically literate are better able to understand complicated events in a more nuanced way, which makes them less susceptible to conspiracy theories. They are also better able to analyze sources and critically examine assertions.
Media and Communication
The media significantly influences whether Illuminati conspiracy claims are confirmed or refuted in the music business. Online communities, social media sites, and traditional media channels all help spread and influence these theories. It can be difficult to properly refute conspiracy theories because of how social media algorithms shape information consumption, create filter bubbles, and sometimes even reinforce preexisting opinions.
Social and Cultural Impact
Public discourse, confidence in institutions, and social dynamics are all significantly impacted by illuminati conspiracy theories. These ideas reshape popular narratives, question accepted beliefs, and affect political and cultural discussions. They may increase suspicion toward authorities, weaken faith in institutions, and exacerbate societal polarization. The way people view and engage with contemporary culture is influenced by illuminati conspiracy theories in the music industry, which reflect broader cultural trends and societal worries.
Ethics and Responsibility
Regarding free speech, public safety, and the possible harm brought on by false information, addressing Illuminati conspiracy theories presents ethical questions. It is a difficult task to strike a balance between the freedom to voice different opinions and the duty to lessen the damaging effects of conspiracy theories. Conspiracy theories can be lessened while still upholding individual rights by using ethical communication techniques, fact-checking initiatives, and responsible media reporting.
Conspiracy theories about the Illuminati have a big impact on peoeple and society, as can be seen by looking at them as hyperobjects in the music industry. These ideas cast doubt on how we view the world and how we interact with it. It is essential to know these ideas' prominence in order to understand the epistemological and cultural circumstances around them. To support or refute these hypotheses, different groups are involved: believers, skeptics, and debunkers. As their social and cultural impact impacts public discourse and institutional trust, media and communication channels can either amplify or refute them. The psychological, sociological, and emotional aspects that influence people to adopt and spread Illuminati conspiracy beliefs are illuminated by looking into how we relate to these ideas. Addressing these notions morally necessitates striking a balance between freedom of speech, public security, and the possible harm brought on by false information.
Outline of a design concept
Conclave immerses players in the complex world of Illuminati conspiracy theories. The game offers a strategic and interactive role-playing experience that enables players to explore the subtleties of the hyperobject and discover its mysteries.
Gameplay: Players can opt to take on the roles of detectives trying to uncover the hidden agenda of the hyperobject or members of the Illuminati. The objective of each player is to navigate a labyrinth of secrets, power struggles, and conspiracies while learning more about the complexity of the hyperobject.
Game Board: The game board features a cityscape full of various locales that stand in for important aspects of the Illuminati conspiracy. Players move their tokens across the board while dealing with obstacles and making crucial choices.
Character Cards: Players choose from a selection of cards that represent various positions held by members of the Illuminati or by investigating agencies. Every character has distinctive traits that influence gameplay and choice-making.
Event Cards: To advance, players must successfully navigate various situations, obstacles, and encounters presented on these cards. Players can investigate many facets of the hyperobject by using the occurrences to represent real-world or imagined circumstances associated with the Illuminati conspiracy.
Clue Tokens: Throughout the course of the game, players gather clue tokens, which symbolize their expanding understanding. Clues can be strategically employed to obtain benefits or reveal information that has been kept secret.
Secret Cards: Secret cards contain buried details and nefarious plot turns. Secrets can be acquired by players through successful actions or by finding buried areas on the game board.
Consequence Cards: These cards offer unpredictable events or repercussions based on the players' choices and actions, giving the gaming strategic depth.
Objective and Strategy: For players of the Illuminati, maintaining influence and influencing events to achieve their agenda is the goal of the game. The goal of the investigation is to undermine the clandestine organization's intentions and reveal its covert operations. In order to outmaneuver their rivals and accomplish their own objectives, players must carefully strategize, drawing on their character's strengths, hints, and resources.
Game Progression: As players advance through the game, they learn how the Illuminati plot is connected. They come upon historical people, crack codes, and reveal connections that were previously unknown. Participants in the gaming are submerged in a rich storyline that sheds light on the secret society's extensive influence and the complex web of power.
Players take part in an engaging and thought-provoking adventure in "Conclave" learning more about the nuances surrounding the mysterious group. To provide a deep and engrossing gaming experience, the game blends strategic decision-making, role-playing components, and immersive storytelling.
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"Something between an aqueduct or a swimming-pool" reveals the category of "large man-made architectural objects that contain water." "Something between a cellphone and a baby" reveals a category combining a relatively new piece of technology and a live infant: both make noise when you don't expect it, both are held close to your body, and both can give you a feeling of connectedness.
(Interobjects on Wikipedia)
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1) the pale is a hyperobject that 2) represents the continuous present.
I saw a post earlier about what the pale is meant to be and what it’s doing within DE, and this is the best I could come up with, working off my own memory of my own thoughts while playing DE. I might try to make this coherent at some point (maybe after a re-play, so I can refer to quotes from the actual text) but tbh I just needed to get it out of my brain.
how is the pale a hyperobject? what does that mean?
in-game, the pale is referred to as the memories of the past, conglomerated into one entity. while this can (and should) be taken literally, you could argue that the pale is performing an allegorical function — this is SFF, after all. the problem with reading the pale is that it seems to act in many capacities at once. it can be read as a representation of climate change or colonial violence or nuclear fallout or refugee crises, etc., in that the pale is any and all world-ending by-products of human existence. I would argue that it is meant to be manifold — the game supports these varied readings; the pale is not a one-to-one allegory, but rather it performs the role of all given apocalyptic scenarios. it simultaneously acts as the threat of looming disaster (spreading over the ocean and encroaching on the isolas), the threat of disaster-from-within (the hole tearing itself open in the nightclub/church), and the threat of personal destruction (The Paledriver and Joyce being permanently changed by the pale).
notably, all of these threats interact with the concept of borders. the pale erases both exterior and interior boundaries that humans within DE otherwise rely on to act as agents of the world. if we look at Latour’s definition of objects — which situates being as a state of relation between objects — the pale’s ability to infiltrate, ignore, or otherwise consume borders means that it cannot function as an object because it has no singular relationship to other objects. thus, the hyperobject, which Morton describes as adhering to the following properties:
“Molten: Hyperobjects are so massive that they refute the idea that spacetime is fixed, concrete, and consistent.
Nonlocal: Hyperobjects are massively distributed in time and space to the extent that their totality cannot be realized in any particular local manifestation. For example, global warming is a hyperobject that impacts meteorological conditions, such as tornado formation. According to Morton, though, objects don't feel global warming, but instead experience tornadoes as they cause damage in specific places. Thus, nonlocality describes the manner in which a hyperobject becomes more substantial than the local manifestations they produce.
Phased: Hyperobjects occupy a higher dimensional space than other entities can normally perceive. Thus, hyperobjects appear to come and go in three-dimensional space, but would appear differently to an observer with a higher multidimensional view.
Interobjective: Hyperobjects are formed by relations between more than one object. Consequently, objects are only able to perceive to the imprint, or "footprint," of a hyperobject upon other objects, revealed as information. For example, global warming is formed by interactions between the Sun, fossil fuels, and carbon dioxide, among other objects. Yet, global warming is made apparent through emissions levels, temperature changes, and ocean levels, making it seem as if global warming is a product of scientific models, rather than an object that predated its own measurement.”
so the pale fits pretty well into these requirements. once taken as a hyperobject, we can then view the pale as an embodied disruption of the ecosystems within de, a radical imposition of an entity that is not a backdrop for human drama but a conscious threat.
ok. now to the continuous present.
so much of DE is choosing to want the world you live in and recognizing the worth of living in the present moment, despite who you are, who you've been, and how you're changing. this thesis is presented in opposition to the constant yearning for the past (the comforting toxicity of nostalgia) and the breathless anticipation of the future (the giddy anxiety of looming disaster). “one day I will return to your side” & “something beautiful is going to happen” — two seemingly incompatible mindsets, but when we consider the hyperobject, we can see that they are combined and embodied within the pale. this collapsing of past and future into one symbol is not meant to confuse us, but to rather demonstrate how the pale is the continuous present.
Stein describes reality, and therefore the continuous present, as composition: “The only thing that is different from one time to another is what is seen and what is seen depends upon how everybody is doing everything. This makes the thing we are looking at very different and this makes what those who describe it make of it, it makes a composition, it confuses, it shows, it is, it looks, it likes it as it is, and this makes what is seen as it is seen. Nothing changes from generation to generation except the thing seen and that makes a composition.” the pale, acting as a hyperobject, is a collection of compositions. it is the embodiment of a continuous present because it holds all of humanity's past, all memory, alongside humanity’s inevitable future, which is to say, it represents human history.
putting this alongside the thesis I proposed, the notion of the present has become complex and somewhat irritating. Harry's individual relationship to the present is about how he comes to terms with his own personhood; the pale, representing a collective relationship to the present (past memory) as ecological disruption (future apocalypse), seems antithetical to the hopeful elements of the game while simultaneously corroborating the destructive elements of Harry's personhood. this is because violence leaves scars that last forever, and also, the world is ending. there is nothing Harry can do about it. there is nothing anyone in DE can do about it.
so why is our thesis about the value of living in the present, and what is the distinction between the individual’s present moment and the continuous present?
DE is not about doing something to stop or change the continuous present; DE is about the creation of personhood in an age that actively dissuades and breaks down personhood (through violence and poverty and substance abuse and so on — everything embodied in the destructive elements of the pale). DE is about a human's ability to engage with the world despite the breakdown of agency.
Stein says, of art being made in the European modern period, “in this way at present composition is time that is the reason that at present the time-sense is troubling that is the reason why at present the time-sense in the composition is the composition that is making what there is in composition.” to demystify her point somewhat: composition is the individual’s present moment, and it is also the art that the individual makes to reflect the present moment. if the present is a terrifying place to live, then our reflection of the present will be troubling. if our only means of understanding the present is troubling, despair becomes a feedback loop — this is the troubled time-sense. characters in DE look to substances, religion, and the pale itself to escape this loop, not recognizing that escape is impossible when these avenues are the means by which agency is given up or broken down.
the individual’s present moment is only one composition within the larger framework of the continuous present. being alive in the world of DE naturally contributes to the pale; being human contributes to the accumulation of the past and the acceleration towards the apocalypse; there is no fundamental difference, then, between the present moment and the continuous present, between humanity and the pale.
so WHY is our thesis about the value of living? why does playing DE feel like a manifesto of hope rather than despair?
what the pale ultimately represents is our troubled time-sense, embodying all the factors that have made the present a terrifying place to live — it is a continuous present that, when confronted, drives the individual to despair. DE’s answer to this wicked problem is similar to the one Stein posits here, “The composition is the thing seen by every one living in the living they are doing, they are the composing of the composition that at the time they are living in the composition of the time in which they are living. It is that that makes living a thing they are doing.” or, in troubling times, make art. create compositions that, yes, then become the composition in which you live, but that also give you personhood. introduce yourself to the world for the brief time you have. resist being consumed by the pale. resist self-destruction. at the individual level, creating art is the only way to maintain a sense of agency, which then allows you to contribute meaningfully to the present — which is all the time you have.
#id save this as a draft but. im kind of interested to see if anyone wants to talk abt it?#mainly bc it was even more of a mess before i ran it by ari & as always they had great notes#eventual title if i can flesh it out / pull it together is#trant heidelstam explains the pale to you for thirty minutes while you stand in the cold wishing you had a cigarette#disco elysium#de
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Mind is not “in” the brain but rather, to use the Heideggerian term, “thrown” into the interobjective space consisting of a banker’s lamp, skull, computer, and keyboard, as well as fingers, neurons, and Mahler’s seventh symphony playing on iTunes, Michael Tilson Thomas conducting the San Francisco Symphony Orchestra, a pair of eyes, a medium sized wooden Danish dining chair covered with black velvet, the muscular system, and so on.
Morton, Timothy. Hyperobjects: Philosophy and Ecology after the End of the World. Minneapolis, MN: University of Minnesota Press, 2013.
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Hyperobjects (Morton)
Timothy Morton became involved with object-oriented ontology after his ecological writings were favorably compared with the movement's ideas. In The Ecological Thought, Morton introduced the concept of hyperobjects to describe objects that are so massively distributed in time and space as to transcend spatiotemporal specificity, such as global warming, styrofoam, and radioactive plutonium.[38] He has subsequently enumerated five characteristics of hyperobjects:
Viscous: Hyperobjects adhere to any other object they touch, no matter how hard an object tries to resist. In this way, hyperobjects overrule ironic distance, meaning that the more an object tries to resist a hyperobject, the more glued to the hyperobject it becomes.[39]
Molten: Hyperobjects are so massive that they refute the idea that spacetime is fixed, concrete, and consistent.[40]
Nonlocal: Hyperobjects are massively distributed in time and space to the extent that their totality cannot be realized in any particular local manifestation. For example, global warming is a hyperobject that impacts meteorological conditions, such as tornado formation. According to Morton, though, objects don't feel global warming, but instead experience tornadoes as they cause damage in specific places. Thus, nonlocality describes the manner in which a hyperobject becomes more substantial than the local manifestations they produce.[41]
Phased: Hyperobjects occupy a higher dimensional space than other entities can normally perceive. Thus, hyperobjects appear to come and go in three-dimensional space, but would appear differently to an observer with a higher multidimensional view.[40]
Interobjective: Hyperobjects are formed by relations between more than one object. Consequently, objects are only able to perceive to the imprint, or "footprint," of a hyperobject upon other objects, revealed as information. For example, global warming is formed by interactions between the Sun, fossil fuels, and carbon dioxide, among other objects. Yet, global warming is made apparent through emissions levels, temperature changes, and ocean levels, making it seem as if global warming is a product of scientific models, rather than an object that predated its own measurement.[40]
According to Morton, hyperobjects not only become visible during an age of ecological crisis, but alert humans to the ecological dilemmas defining the age in which they live.[42] Additionally, the existential capacity of hyperobjects to outlast a turn toward less materialistic cultural values, coupled with the threat many such objects pose toward organic matter gives them a potential spiritual quality, in which their treatment by future societies may become indistinguishable from reverential care
- Object-oriented ontology
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First as Farce: Fail Safe, Dr. Strangelove, and Toxic Hyperobjects
A hyperobject, as defined by eco-philosopher Timothy Morton, is an entity so out of scale with relative space and time that it alters the relational existence of everything else. Morton uses global warming as a prime and pressing example. This hyperobject, like all others, contains certain traits: viscosity, its inescapable stickiness; nonlocality, its omnipresence which transcends any local manifestations; phased, its multi-dimensional qualities; interobjectivity, its formation via the confluence of multiple objects. The emergence of certain hyperobjects has brought forth what is known as the Anthropocene Era: a new geological epoch wherein human intervention is the greatest of all geologic actors. Ushered in with the introduction of carbon from coal-powered industry in 1784 and, on July 16, 1945, plutonium from the first nuclear detonation.
Nuclear hyperobjectivity is the specter that haunts Sidney Lumet’s 1964 film Fail Safe, based on a 1962 novel of the same name. I happened upon the film via the Criterion Channel (though it is now, unfortunately, only available for streaming on Amazon) in the middle of March, shortly after Michigan’s lockdown due to one of our most recent hyperobjects: the Coronavirus pandemic. Seeming to have a viscosity all its own, the film has not since left my mind.
I was struck immediately by the film’s black and white photography. Fail Safe opens with a surreal sequence featuring a bull and matador. It is a recurring dream of General Warren “Blackie” Black who, after hearing a shrill tone, wakes in a sweat next to his wife. Blackie, with his contradictorily angelic white hair, is a man of integrity and warmth. He is a loving husband and father but also a man of duty – and this trait he shares with nearly every other character in the film. The duty on this day: preventing imminent nuclear war. Next we meet Blackie’s ideological foil: a grimly pragmatic political scientist, Professor Groeteschele, played with devilish magnetism by the legendary comic actor Walter Matthau. His hair, of course, is jet black. His gaze is on the apocalypse.
The most notable formal characteristic of Lumet’s film beyond its dramatic cinematography is the absence of a musical score. A common technique throughout Lumet’s oeuvre and used in a similarly tense story of men on the brink of disaster, A Dog Day Afternoon. It is also a feature of his first film, 12 Angry Men. Henry Fonda, the voice of reason in that film, returns in Fail Safe. Having already played young Abraham Lincoln in Young Mr. Lincoln, he now plays a fictional President but is once again the conscientious embodiment of America’s better nature. Though advised and informed by a coterie of serious men, he alone must convince the Soviet Premier that an impending attack on Moscow is a mistake and not the first strike in a nuclear war.
If some of these story-beats seem familiar, it is probably because a similar story had been told before. Indeed, no commentary on Fail Safe can fail to mention Stanley Kubrick’s Cold War satire Dr. Strangelove. Both films were produced in 1964 by Columbia Pictures but Kubrick demanded that his film be released first and, along with Peter George (author of Dr. Strangelove’s source material, Red Alert), filed a copyright infringement lawsuit against Fail Safe. And so, the world saw nuclear disaster spawned from the hands of a babbling jingoist, General Jack D. Ripper, before seeing it result as the logical conclusion of a complex system reaching critical failure.
One wonders what was gained and lost from Kubrick’s maneuvering. A satire is just as, if not more, effective when it follows an earnest work, but a serious drama is hard to be taken as such when its punches have already been pulled self-referentially. We find ourselves in a similar position. Our American moment subverts Hegel-via-Marx as a history acted in farce first, then tragedy. We are exhausted by bad faith actors long before we can address the failure of our safeguards. Ironically, though, we have reason to be paranoid about our “precious bodily fluids” in ways that General Ripper could only dream of. Distrust of systems, however, exists on both sides. The difference, of course, is that some systems act to mitigate the spread of a deadly virus while other systems seem hellbent on subduing the public through violence.
Dr. Strangelove is a similar cavalcade of toxic masculinity: brash, posturing, idiotic, and literally fascistic. General Ripper seems hardly coherent enough to enact his plan but he is certainly loud enough to carry it through. So too, our country is won by beating the media into submission; weaponizing Twitter not with dangerous rhetoric (though there is that) but with nihilism. You can’t argue with ignorance, they say, which means it’s also hard to defeat. So, ask not about platforms or plans. Instead listen, for the position itself is a scaffold for man’s psychosis. And eventually, amidst the din, you lose your hearing altogether. Death tolls rise while white men sit around in locked rooms, sucking up recycled air.
Yet even the archetypically masculine characters in Fail Safe – full of fidelity, thoughtfulness, and courage – are not above reproach. “We’re responsible for what happens to us,” pleads Fonda’s President. “Today we had a taste of the future. Do we learn from it or do we go on the way we have? What do we do, Mr. Chairman? What do we say to the dead?” Well, what do we say to the dead? What do we do when the systems that we rely on for protection and survival are also killing us? Must we simply learn to live with toxic hyperobjects?
We see glimpses of New York City street life in Fail Safe. Moments frozen in time. It is easy to feel similarly frozen where we are – in our safehouses and bunkers. “It’s hot as hell down here,” President Fonda laments. “We’re far enough down, maybe it is hell.” And yet, looking up, our streets are alive. Resistance is mobilized. And if the forces of evil aren’t afraid to show their faces – aren’t afraid to commit injustices in front of the whole world – then they can be taken down if we are not complacent. We can have a better world, a healthier world, if we take responsibility for what happens to us. There is a message emblazoned on the streets for the hyperobjects of systemic oppression: “What we put between us we can remove.” Our duty on this day. Fail Safe’s final lesson.
@chrison_
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‘Hyperobjects’- Timothy Morton
-The uncanny Valley
-It’s strange that we admire comets, back holes and suns- entities that would destroy us if they came within a few miles of us.
-When you look at stars, you’re looking through a glass screen of atmosphere. We can spectate the universe as an aesthetic object- the biosphere is a spherical cinema screen.
-Projections in a planetarium are infinite, sublime.
-’Cosmic wonder is an aesthetic experience- 3D version of looking at a painting’.
-We are fascinated by cosmology/ the universe but not global warming... Due to the oppressive claustrophobic horror of actually being inside it.
-’We marvel at black holes because they’re far away. The much more immediately dangerous hole that we’re in is profoundly disturbing (particularly because we created it).’
-We can only represent global warming with strong computers.
-Human art has to be a science, part of science, part of cognitively mapping global warming.
-’The mind is not in the brain but rather is thrown into the interobjective space’. -’Where does consciousness begin to emerge from non consciousness?’
-Hyperobjects affect the mind but we only see their shadow.
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DSC_5209 by Russell Moreton Via Flickr: russellmoreton.blogspot.com/ russellmoreton.tumblr.com
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DSC_5549 Veering towards Aesthetics : Timed/Tuning Disturbances by Russell Moreton Via Flickr: russellmoreton.blogspot.com/ russellmoreton.wordpress.com/
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DSC_5214 Dispersal by Russell Moreton Via Flickr: russellmoreton.blogspot.com/
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DSC_5616 Time Scale Sun Drawing by Russell Moreton Via Flickr: russellmoreton.blogspot.com/ russellmoreton.wordpress.com/
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DSC_3286 Chorismos by Russell Moreton Via Flickr: russellmoreton.blogspot.com An Irreducible Gap. Qualities and relations are much the same thing, since they are born in interactions between the object and other things. Timothy Morton russellmoreton.blogspot.com/
#Russell Moreton#visual art#making#spatial agency#materials#art practice#outpost#Norwich#blue notes#chorismos#blue object#aesthetic appearance#blue essence#strange mappings#causality#interobjective space#phase space#painting#qualities and relations#flickr
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DSC_5274 by Russell Moreton Via Flickr: russellmoreton.blogspot.com/
#blue notes#chorismos#blue object#aesthetic appearance#blue essence#strange mappings#causality#interobjective space#phase space#painting#qualities and relations#visual art#Russell Moreton#art practice#the strangeness of quanta#stranger things#natural phenomena#thoughts#subjectivity#psychological realities#the nature of mind#discursive art conceptions#flickr
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DSC_3286 Chorismos by Russell Moreton Via Flickr: An Irreducible Gap. Qualities and relations are much the same thing, since they are born in interactions between the object and other things. Timothy Morton russellmoreton.blogspot.com/
#Russell Moreton#visual art#making#spatial agency#materials#art practice#outpost#Norwich#blue notes#chorismos#blue object#aesthetic appearance#blue essence#strange mappings#causality#interobjective space#phase space#painting#qualities and relations#flickr
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