Translated Community
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Medium: Digital Art-Moving Image
Size: 1 min 56 sec
Translated Community" symbolizes humanity's struggle and potential liberation from its physical and societal constraints, hinting at a glimmer of freedom amidst the ruins of a digitized existence.
At the heart of the scene is a stratified highway system, symbolizing the division of society into distinct classes. The higher roads are reserved for the privileged, mirroring a world divided into elite virtual economies, hubs of cheap labor, and the oppressed. The sound of a flute acts as a controller.
"A drop of dew—or tears—reflects and bends light, akin to how journalists and photographers on the frontline meticulously examine reality, defining through real-time images the presence of humanity and inhumanity. The translated sheets from books—'The Revolution of Everyday Life' by Raoul Vaneigem, 'Comments on the Society of the Spectacle' by Guy Debord, 'Status Anxiety' by Alain de Botton (in progress), 'The Cinematic City' by David B. Clarke (in progress), 'The Practice of Everyday Life' by Michel de Certeau (in progress), 'Species of Spaces and Other Pieces' by Georges Perec (in progress), 'Chaos, Territory, Art: Deleuze and the Framing of the Earth' by Elizabeth Grosz, 'Post Capitalism: A Guide to Our Future' by Paul Mason, 'Cristina and Her Double: Selected Essays' by Herta Müller, 'Deep Time of the Media' by Siegfried Zielinski, 'The Age of the Capital' by E.J. Hobsbawm, and 'As a Weasel Sucks Eggs' by Daniel Birnbaum and Anders Olsson—function as road signs, helping people find their way by exploring collective intelligence."
A swimming pool communicates an atmosphere of calm, the intoxicating smell of chlorine, and the visual spectacle of azure blue combine as an assault on the senses. Though individual swimmers come and go, and the composition of the setting is in constant flux (between the free area and speed lane), the order they create remains.
An eye jumps into the swimming pool without goggles—or even eyelids, being 100% exposed to the public. "Goggles are particularly powerful in dehumanizing the swimmer by reducing him or her to a mechanical object: a swimming machine, as they prevent eye contact" (Goffman, 1963a:38).
According to Dali's self-portrait in an egg, I depict an almost nude body in a swimming environment as wagyu beef balls. Roaming wagyu beef balls represent the sensations of flying and floating that swimming provides, offering an experience akin to the intrauterine, where individuals regain an original state of intense well-being.