I - Proto-history

According to Vilem Flusser the magical function of technical images liberates the subject from linearity of history. The performance starts like a ritual occurring in the imaginarium of the myths of Tehom or Nekuia. The historical time is replaced by the eternal repetition of an archetype.

II - Wünderblock

The second phase of the performance is the moment of Genesis, the hic et nunc of consciousness-matter contact, presence.
During the performance, I enter a human-sized matrix made of organic, malleable material filled with sensors. I come into the world through this contact with the material, which gives me a permanent feedback on my gestures, my heartbeat, my feelings.
In the feedback loop, the individual becomes conscious of the limits of his self. The emotion structures the topology of the self. It depicts the technical operation when contact becomes information. In the mold, I individualize my self, in this loop between actions and information that I receive in return: the music piece built in real time.
The autopoietic machine takes as input the physiological and psychological data of the performer then converts it in a generative symphony which defines the self as a strange loop. The mold carries signal. The individuation is a modulation process. This memory apparatus sets up an instrumented way of producing traces that are digitized.

III - Replica

From the gathered digital traces a three-dimensional model of the real size individual is formed to replicate it throughout the performance with 3d printing, in industrial quantities. A typewriter frantically types out a generative narrative to describe the scene. This part aims to represent the accumulation of things, the artifacts, the melancholic repetition of single machines, as well as the obsolescence of Man who became an antiquity.