A Tentative Intercourse of the Bodies of a Crashed Plane and the Pilot (Material Spectacles)
Keywords:virtual body, virtual memory, memory animation, memory installation
While observing various situations and experiences, imagination institutes new realities within the distinctions between the animate and the inanimate, whose relations no longer reflect the customary order of the material world. That is why it makes sense to explore the emerging systems, in which new modes of participation and self-organisation that are capable of changing the definitions of life are formed. If we choose the distortion of the experienced time as the observation method, a moving image can be used for that purpose. The author of the article suggests understanding animation as changes in the state of systems when time perception is manipulated (e.g., the time-lapse technique in photography/video). By problematizing the understanding of animation, the author offers to explore it in two directions – on the material level, when animation is happening through constant agreements between the animate and the inanimate, and on the level of animation instituted as a cultural construct. Thus, the concept of animation is construed as immanent to culture – cinema, memory culture, philosophy of time and, alongside, as animation of matter, in which the systems com- ing into agreement institute the shapes of common consciousness (bioanimation, consciousness animation). The system perceiving itself as human tries to establish possible interactions with other systems through requests, which can be considered animation. Alongside, the term of animability is offered, which defines the capacity of matter to take part in such human/inhuman relations. The immersive state that appears in the process of animation as an unending “immersing” into virtual reality is discussed. In this text that does not have illustrations, the author invites us to feel images as possible human/inhuman assemblages and to predict possible life forms by manipulating the expressions of time and thus creating agreed realities.
It is asserted in the article that animation is a request sent by certain forms of matter to other forms, thus creating agreed systems that organize various shapes of consciousness as constitutions uniting these systems. The author tries to assemble into a constellation several important positions – memory (the courage of vision, an expression of time), catastrophe (the separation of testimony, rhythm, a possibility of a memory echo), vibrating matter (in a ready state) and virtual reality (reality augmented with visions of matter).