Blade

blade - uraniaBlade gestiva a suo piacimento il rilascio degli ormoni.

Aveva un perfetto controllo del sistema nervoso centrale. Un controllo ottenuto dopo centinaia di vite trascorse a subire la dittatura di madre natura.

Solo nel corso dell’ultima reincarnazione, avvenuta nel 3218 (data terrestre), grazie ai notevoli progressi delle nanotecnologie e grazie al buon karma accumulato durante millenni di errori e fatiche, aveva raggiunto il controllo perfetto.

Il 12 aprile 3218 era nata femmina, punto a suo vantaggio nella ricerca dell’illuminazione.

Il 36 agosto-ferraio 3224 (mese inserito nel calendario dopo l’apocalisse maya del 2012)  al raggiungimento della maggiore età ormonale, Blade aveva cominciato, sotto la guida della sua Maestra Limbica,  ad esercitare ipotalamo e ipofisi per controllare ovulazione e flusso mestruale.

Negli anni a seguire passò attraverso intrusivi esperimenti scientifici che la costringevano appesa a testa in giù oppure legata in celle buie con tubi che drenavano i suoi flussi renali per studiarne ragioni ed emozioni.

Blade si era sottoposta volontariamente a tali tormentosi esperimenti solo per il bene della scienza e dell’evoluzione. D’altronde, dopo le angherie subite durante i cosiddetti millenni bui della storia dell’umanità (dall’anno 100 al 2300) quello che aveva scelto di subire ora le pareva una passeggiata.

Nel I sec. (datato dopo Cristo) era stata data in pasto a belve affamate e maltrattate dopo essere stata stuprata tredicenne.

Nel 1520, nonostante  l’invenzione della stampa e la sedicente scoperta delle americhe, aveva sopportato goffe e irragionevoli angherie esercitate da uomini che non avevano la più pallida idea di cosa volessero, e poi bruciata come strega.

Nel 1943, in un corpo di uomo, le era stato trapiantato un cuore di cane in un laboratorio nazista. Nel 1958 era stata spedita nello spazio interstellare in forma di scimmia.

Nel 2091 era consumatrice terminale di Drago Nero.

Nel 2101 era stata rinchiusa in isolamento sensoriale e costretta a subire un impianto di NSID (Nano Sequency Identification) sottopelle per il controllo neurosatellitare.

Nessuna di queste assurde manipolazioni aveva minimamente influito nell’evoluzione  dell’umanità,  nè tantomeno sulla sua.

La conoscenza del funzionamento della macchina umana restava un mistero che solo durante  le ultime due incarnazioni Blade aveva cominciato a sciogliere avendo incontrato in sogno più volte la Maestra Limbica dei Nostri Flussi.

Solo nel 3268 però riuscì a raggiungere la perfezione nell’arte dell’autodeterminazione ormonale.

Blade, all’età di 50 anni umani, era perfettamente in controllo delle sue ghiandole endocrine. Le induceva senza errore a sintetizzare gli ormoni appropriati ad ogni momento.

Impartiva all’ipotalamo i riti della produzione dei fattori di rilascio, stimolava a suo piacimento l’ipofisi provocando la produzione di tropine.

Fu grazie alla pratica imposta dalla Madre Limbica, grazie ai faticosi esperimenti di laboratorio praticati per quasi un lustro, grazie agli innumerevoli fallimenti che per sua natura, necessariamente incontrava, che il 17 luglio 3268 Blade, per la prima volta, riuscì a decidere quando e come farsi venire le mestruazioni.

(…continua la prossima settimana)

 

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BACK TO THE ANTIPODES: proposed work for SCANZ 2013 3rd Nature – Agnese Trocchi, Giovanna Dante

Our project is on the razor edge between poetry, science and science-fiction. We enquire anxieties and expectations of humanity in these days of uncertainty.

We explore the collective subconscious and it’s relationship with the earth, the geodesic energies and the human settlements.

Our attempt is to use scientific and creative tools to represent the collective dreamspaces across two continents, one at the antipodes of the other.

Back to the Antipodes is a reminder that if we want to give a chance to human beings to live in this planet we should go back to our roots which are deeply connected to the heart of the planet and to the heart of our subconscious.

Back to the Antipodes” means that we are all interwoven and our attempt is to  search for connections between New Zealand and Europe, both on a physical and on a psychical level.

Do the connections exist? How they may be represented?
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Back to the Antipodes: the image

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Relevance of “Back to the antipodes” in relationship to 3rd nature themes

“Back to the antipodes” is a project that enquire the collective subconscious and the planet earth as part of the same unit.

We all belong to the universe in a physical and psychical way. Our collective subconscious is connected to the energies of mother earth and, as human beings, we are one with the planet.

We acknowledge the environmental crisis and we reckon that if we want our species to survive we should dig into what lies below the surface and understand how much we are deeply rooted in each other and within the planet.

To enquire dreamscapes at the antipodes will show us the patterns of subconscious in relationship with different earth energies and human settlements.
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Possible Outputs of “Back to the antipodes”

The possible outputs of “Back to the antipodes” are:

– a “Collecting Dream Workshop” where people will be involved in dreaming, telling dreams or collecting dreams in the territory.

– an Open Lab where attendants will be involved in making a tableau vivant from the interpolation and processing of the data collected during the previous stages. In the open lab we will film the postcards from the dreamscape.

– an Exhibition that will show the “postcards from the dreamscape” and the “GIS territorial dream maps”

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Agnese Trocchi’s CV and Bio

BIO: Aesthetic researcher, writer, net-artist and videomaker based in Rome (Italy), Agnese Trocchi has been active since 1995 in the field of ICT.
In 1999 she co-founded Candida TV, an independent small sized cooperative in Rome to infiltrate the media mainstream with new visions of reality. With Candida TV she has been producing shows, spot, documentaries, short fictions for TV and the internet and she has been involved in the Telestreet movement in Italy.
In the same years she collaborated with Francesca da Rimini (AUS) and Diane Ludin (USA) with the net.art project “Id_runners, re-fleshing the body” to enquir  the conditions of female beings on the edge of the new digital era.
Togheter with media activist from Italy and from the rest of the world, since 2000 Agnese organized events to promote debats on digital rights, copyright laws and independent video distribution online. In 2012 she published a book of erotic short novels.
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Giovanna Dante’s CV and Bio

BIO: Expert in marine ecology and nature conservation, based in Rome (Italy). Giovanna Dante is PhDr on ecology and biological resources management and have done her University degree thesis in Australia (University of Queensland) studying a tropical reef fish.

Her research interest mainly focus on reduction of human impacts on marine ecosystem identifying proposals to manage and conserve marine areas in a sustainable way.

During her PhD she has done thematic GIS maps and collaborated with Amsterdam University (NL) to implement a Qualitative Reasoning Model to help communicate scientific concept to non-technical audiences.

She studies contemporary dance since 2000, now is studying to become expert in children movement education, is a SCUBA diver and loves sailing and travelling. Continue reading

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Italia 2.0. Visioni d’autore su un paese in trasformazione

italia 2.0

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Sick Marylin 29 Gennaio 09

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CPU: CENTRAL PROCESSSING UNIT

CPU e’ un evento organizzato da ESC a Graz (Austria) dal 4 al 26 ottobre 2008.
 
In times, when knowledge, awareness and research are increasingly
privatized and therefore controled (commercialized) by multinationals
and other interest groups, the debate around Intellectual Property
also contains another current: people, who don’t aim at earning
billions or political power by patenting knowledge, but who are
willing to keep their way of working, their art and their networks
open and therefore facilitate free access to awareness and information.
In public discussions around aspects of free development and software,
technical and juridical aspects are much more debated than the effects
on developments of the society as a whole. In the frame of CPU, we
want to deal with all possible facets of future perspectives and
developments of our society.

In this field, reflections on the used material and choices on tools
are as important as the media, in which an artistic work is realized.
What relevance does media art have today? Are media artists (also) –
as author Bruno Preisendörfer puts it – "people of no consequences",
at least as individuals? Who only become important in the plural (as
consumers, audience, voters), because they lack money, power and
knowledge? CPU as temporary workspace for 15 people from different
artistic and technological fields challenges this attitude: new media
art works will be shown now in Graz – as installations, workshops,
performances and lectures.

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