5 October 2015


Transformative Potential of Art in the Age of Post-Media

The 1st edition of new academic art and science conference series, complemented by the RIXC annual festival program.
October 8-10, 2015, Riga, Latvia

The Renewable Futures is a new conference series in the Baltic Sea and North European region that aims to invent new avenues for more sustainable and imaginative future developments. It will shape new contact zones between traditionally separated domains - art and science, academic research and independent creative practices, sustainable businesses and social engagement in the 21st century.

Speech by Dr. Oksana CHEPELYK, Fulbright Scholar 2003-2004 and 2010-2011, Leading Researcher at the  MARI NAAU
«The COLLIDER Project as a Model of "Post-Media Art" Combined Science, Public Space, History and New Technologies to Rethink Worldwide Changes», Session 3B «BIG DATA AND URBAN GEOGRAPHIES».

The COLLIDER project as a Model of "Post-Media Art" Combined Science, Public Space, History and New Technologies to Rethink Worldwide Changes.
Oksana Chepelyk

The Collider project works with space-time, science, urbanism and history. Collider examines the iconic places of C20-21 political history. The project deals with events, which took place in different urban landscapes, which had an influence on subsequent historical development. If the latest theory of Tom Weiler and Chui Man Ho is right, the Large Hadron Collider could be the first machine capable of causing matter to travel backwards in time. In the project, time is presented by projected video that consists of 24-60 fragments of moving image, which are revolved with acceleration in an artistic collider, activating a mechanism of audio-visual jumps where certain fragments can gradually be substituted by archival videos.
Collider is a panoramic presentation of some of the world’s most perilous political flashpoints: Sarajevo, Dallas, Moscow and Kiev. By brining Ukrainian events into this common language, project deliberately resets the global understanding of Ukrainian local, as the world-historic turning points. In the project a fragmented representation of a time and space makes reference to the quantum theory.
Under experimental conditions, colliders set quantum particles on collision courses with one another to generate strange matter, anti-matter. Under planetary conditions we set human particles on collision courses that generate accidental matter, violent matter, discursive matter, political matter, ethical matter, matter of great weight and matter of no consequence. These are not metaphors; these are not analogies; these are physical explanations. In A Thousand Plateaus, Deleuze and Guattari insist that their work not be taken metaphorically – that it is variously practical, instructional, imperative. Nietzsche in his Gay Science famously proclaimed: “Long live physics!” – constantly reminding us that the physical world is all we have and our ethics are grounded in this one and only world. In January 2007, the Atomic Scientists moved the perilous hand of The Doomsday Clock from its originary 1947 setting of seven minutes to midnight, to just five, reflecting the twin threats of nuclear destruction and failure to act on climate change.
The Collider project, working with the events that have formed the world in which we live now, raises the question: is a person a particle in the system of accelerators of global forces, or the energy of interaction investigating new values, new forms of thought and new ways of existence in the world – insisting that another world is possible?



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