Platform for art and theory/fiction

ŠUM: ARIA

ARIA (Algo-Rhythmic Ideation Assembly) is a gathering of hyperstitional agents, a chorus of in/human voices on a mission to immanentize the eschatological horizons.

ARIA is an exercise in unworlding, unnaming, unlearning, and unbinding the entrenched structures of mankind’s current collective hallucination, so that a second rhythm, a refrain for a second life in the material world can start to emerge; planting the seeds for a second nature and our second bodies as the existent ones foreclose around us.

By engaging in unnatural participation with anomalous alliances through techniques of unsorcery and anthropoforming disguised as play with maximal bleed, ARIA will manifest an arrivant cosmo-grammar from chaosmosis to invoke new intra-world visions.


The inaugural manifestation of ARIA constituted itself in Ljubljana, Slovenia, from August 21–25, 2023. The force of this strange attractor assembled a select group of diverse artists, researchers, students and teachers—alternate reality seekers—in a circumscribed space and time for embodying, inhabiting, existing in otherness; encountering concepts, methods and tools from an alienated, novel perspective and primarily generating the mythopoetics of a co-created otherworld, facilitated with a guiding hand from Omsk Social Club. It was an experiment in pedagogy through a hermetic mode of play and worlding, collectively self-directed and intersubjective discovery without quantitative results, simply providing the ground for unknown imaginaries to emerge, allowing other ways of being and becoming to come to the fore, as an antidote to the foreclosing horizons of contemporary consensus reality.

What follows are clues summoned from the subconscious of ARIA, hooks for the reader to grasp on to in order to begin to visualize in the mind’s eye a shape of an idea of ARIA’s genesis amidst the vast murkiness of chaosmosis. The clues are many and varied and cluster in transient, ever-recombining strands—fragments of research, diary entries, documents existing within and outside of time and space. Role-playing, or more specifically in the terminology of Omsk Social Club, “Real Game Play”, is a vortical force propelling the multinatural symbio-semiotic process of this collected evidence and the lenses provided through which one may make sense of it, or perhaps reach an assimilative state beyond sense or thought.

ARIA may all just have been a collective hallucination, or possibly even a pure fiction planted in a shared memory of a past. By whom or what, and for what purpose is unknown and perhaps unknowable. What matters and can at least be divined is that by proceeding to let the substrate of ARIA be digested, your particular tract of consciousness, the constructs currently maintaining your continuous sense of self, may begin to rupture, and the convenient fictions revealed for what they are can be reclaimed and transfigured by a revelatory transindividual will on its own terms of self-and-other-fictioning in the production of a new Real.

Keys

Fictioning & Mythopoesis

William Irwin Thompson, The Time Falling Bodies Take To Light

The transformations of culture do not take place in history, they take place in myth. It is because the individual cannot perceive in the limits of his own lifetime such transformations as the Neolithic or Industrial revolutions that we have need of myth. A model, a hypothesis, or a myth is a way of rendering the invisible. Because the unconscious is outside time, it can perceive transformations beyond the limits of the ego. These unconscious perceptions are expressed in art or mythologies. We ourselves are living in an age of cultural transformation, but if you went to the experts to ask for a description, they could tell you nothing. You have to go to those who are at home in the unconscious and the superconscious, the artists and prophets; through myth and symbol in art, science fiction, or religion, they will describe the present by speaking about the future.

Patricia Reed, Freedom & Fiction

Being accountable to the crises of this historical present demands the intervening potency of fiction, of counterfactually situated and ramified fictions that can make the possibility for another history intelligible, fictions that reveal the incompletion of history.

David Burrows & Simon O’Sullivan, Fictioning

The concept of mythopoesis speaks to the multiplicity that would deterritorialise our usual identifications (or it speaks to the potential selves we also are), whilst addressing us as part of a wider collectivity—as potentially part of a community to come.
Mythopoesis does not promise another world (or offer an “escape” from this one)—it is not a technology of transcendence in this sense. Rather, it helps set up further conditions—contours and coordination points—for the production of a different mode of being (and thus, again, a different world) from within already existing ones.

J. F. Martel, Reclaiming Art in the Age of Artifice

On the plane of the Real, the virtual and the actual coexist. We are outside time, in the infinite.


Prophetic Culture

Federico Campagna, Prophetic Culture

To speak prophetically, and to express the paradoxical “coincidence of opposites” at the heart of existence, they will have to tear language apart and to reassemble it in grotesque compositions. Their cultural production might not be cool or pretty, but its story will remain imperishable to the apocalypses of history, and it will be able to speak to all worlds, because to all of them belongs the mystery. Such a form of prophetic culture might also be able to advise those who will come after us on how to include this mystery within their own cosmologies, and how to recognize its presence within every existent. (Tank Magazine)
No two subjects can inhabit the same time, unless they sing the world together as a chorus. The same past, present and future will take shape for them only as long as they shall be singing in metaphysical accord … There is no time outside of the sound of a world-song.
As it happens to the adepts of spiritual chivalry, living nobly consists in aiding the explosion of “other” creations alongside and beyond one’s own: to act as combustible in the aesthetic engine, out of which all possible worlds are projected.
According to a mystical cosmology, the boundaries of the world lie within, not around, the existent.
Becoming-not-contemporary and becoming-not-oneself are simultaneously the pre-conditions for creating prophetic culture, and the results of a profound personal engagement with it.
To engage with prophetic culture is an “exercise” (askesis) involving a subject’s fundamental imagination about the stuff that makes up reality. It is an active work, in that it requires a modification of one’s own cosmological parameters—but it is also an exercise of non-activity (wei wu wei, “action-non-action” in Taoist literature), where one observes the new reality that begins to surface in front of their own eyes.

Esthetic Entities & the Black Box

Alina Popa & Florin Flueras, Unsorcery

In Unsorcery, instability is by design. The stated desired dynamic is a productive alienation from concepts through experience and from experience through thinking.
The esthetic entities are works that are worlds, unrepresentable, exhibitable […] They are not as visible as they are influential […] The esthetic entities function as environments that shape the artistic visions and options of the people involved. After a while, it’s not only that artists work and develop the entities, but more and more the entities shape and work upon the artists.
You cannot voluntarily modify the reality around you—for that you need to pass through a sort of black box […] A black box is needed when you reach the end of possibilities. The black box happens at the end of imagination […] The black box appears at the transition to a new, unknown world […] Alien places had the power to activate black boxes as possible exits from a homeworld that we otherwise always carry with us. A black box doesn’t teach you how to change the world but how to change it for another, how to leave it, as somebody else.
The Walpiri see reality as an extension of the body. The Amazonians see that different species and types of bodies actualize different perspectives, different natures, different worlds—reality is multinaturalist. All this makes it possible for shamans to develop bodies that can activate or access other realities. By maintaining two incompatible perspectives, they can be present in two worlds—they become black boxes. If the exterior and interior realities depend on the bodies that access them, some performances can affect the world itself, not only the people.
Changing not perspectives but horizons is productive. The translation, the movement from one field to the other, restructures both.

The Second Body

Eduardo Viveiros de Castro, Cosmological Deixis and Amerindian Perspectivism

What I call “body” is not a synonym with a distinct substance or fixed shape; it is an assemblage of affects or ways of being that constitutes a habitus.

Alina Popa & Florin Flueras, Unsorcery

The world that hardens up around us is just a collective perception of homeness. A constructed safety which oftentimes sinks into boredom, depression and exhaustion of the imagination. Fixation and attachment are embedded in the society of the spectacle. To reach for another outside, this real needs to destabilize, to unhome, the body needs to find a new human, to unself. We need to work with our presence, with unknown kinds of presence, “to lose our third leg”—the one that we were not aware of having. Become disorganized matter, blobs of chaos, slime molds. To invertebrate ourselves and give the vestibular over to vertigo, become molusks. To grow “thousands of cilia blinking”, to become “protozoic, pure protein”. (Clarice Lispector, The Passion According to G.H.) Or let the completely unimaginable take over.
The first body cannot and does not have to be annihilated or replaced. What we can do is to grow a second body by diverting attention from the known body and feeding the unknown. Instead of changing ourselves and developing new practices, we can add layers of unknown to what we already do, by adding a second nature, second intentions, shadow attention, shadow processes and activities to the everyday behaviors, to the first reality. What could take over is an inverted, negative, shadow attention […] Maybe by stabilizing this second attention, and making it a habit, a second body and other worlds can acquire some consistency […] Second Body as a concept is necessary for a partial coagulation, stabilization and configuration of affects, ideas, practices and habits that arise around the second attention […] Second Body is not a body that you have, it is rather a body that has you, it is an occasion through which the unknown can abduct you.

Unknowledge

William Burrows – The Prisoners of the Earth Come Out

The new way of thinking has nothing to do with logical thought. It is no oceanic organismal subconscious body thinking. It is precisely delineated by what it is not. Not knowing what is and is not knowing we know not. Like a moving film the flow of thoughts seem to be continuous while actually the thoughts flow stop change and flow again. At the point where one flow stops there is a split second hiatus. The new way of thinking grows in the hiatus between thoughts.

Florin Flueras on Georges Bataille – The Unfinished System of Non Knowledge

It is not enough to “abandon” the known and expect the unknown to appear. For Bataille quite the opposite is the case, one should go to the end of the possibilities of knowing before arriving at unknowledge.

Georges Bataille – The Unfinished System of Non Knowledge

Each time we relinquish the will to knowledge … possibilities are, in effect, more open and we have a far more intense contact with the world … From the death of thought, from nonknowledge a new knowledge is possible.

Alina Popa & Florin Flueras – Unsorcery

A world is a language spoken in habits. To lose the world is to speak a language massively indifferent to meaning, in that world. To become world loser. A world loser crosses the limit not by going forward but by falling through.

Rhythm & Chaosmosis

Gilles Deleuze & Felix Guattari, A Thousand Plateaus

But to improvise is to join with the World, or meld with it. One ventures from home on the thread of a tune. Along sonorous, gestural, motor lines that mark the customary path of a child and graft themselves onto or begin to bud “lines of drift” with different loops, knots, speeds, movements, gestures, and sonorities. These are not three successive moments in an evolution. They are three aspects of a single thing, the Refrain (ritournelle).
Rhythm is the milieus’ answer to chaos. What chaos and rhythm have in common is the in-between—between two milieus, rhythm-chaos or the chaosmos.
Chaos is not the opposite of rhythm, but the milieu of all milieus. There is rhythm whenever there is a transcoded passage from one milieu to another, a communication of milieus, coordination between heterogeneous space-times.
[R]hythm is the Unequal or the Incommensurable that is always undergoing transcoding. Meter is dogmatic, but rhythm is critical; it ties together critical moments, or ties itself together in passing from one milieu to another. It does not operate in a homogeneous space-time, but by heterogeneous blocks. It changes direction.
Rhythm is never on the same plane as that which has rhythm. Action occurs in a milieu, whereas rhythm is located between two milieus, or between two intermilieus, on the fence, between night and day, at dusk, twilight or Zwielicht, Haecceity.
It is the difference that is rhythmic, not the repetition, which nevertheless produces it: productive
repetition has nothing to do with reproductive meter. This is the “critical solution of the antinomy”.

Alina Popa & Florin Flueras , Unsorcery

Be a time-smuggler.

Brandon Rosenbluth

Brandon Rosenbluth b. Los Angeles, graduated from Bard College, is an art and music curator based in Ljubljana. He is the co-creator/ curator of ARIA and has curated Indigo festival’s music program since 2021. His texts have been published by OFLUXO, Kamizdat, Cukrarna, and Atlas of Databodies; he is also a host of the ŠUM and Cartogenesis podcasts. He has toured the world as a member of Shaddah Tuum, DJ and label owner of Portals Editions and UnReaL Berlin.