#actually receiving a vision rather than being like Traveler and channeling the elements without one

[ghostlyanon]

Annie would realise at some point that arriving to Teyvat and receiving a Vision she could easily lose ,or get taken it from her, was a mistake

#as an otherwordly traveler #actually receiving a vision rather than being like Traveler and channeling the elements without one #is like a nerf #what if you lose it #you lose a part f yourself #annie would be very worried once she figured this out #teyvat nerfed her #now she's got a part of herself materialised in her an artifact thingy #OH NO #i thrive in sleep ( ooc ) #delete later

[carminite-wyrm]

A Genshin Impact Hermitcraft AU Idea, God Help Me

Last year, on September 28, a particular gacha rpg game was released and I, occasionally regrettably, fell straight into playing it. In honour of the fact that this will mean I have lasted nearly a whole year (I got the game a week after bc uni) determinedly not spending any money on Genshin whilst also trying to roll good characters…here’s a bunch of Hermitcraft Genshin AU ideas that I initially came up with at roughly 2.40 am.

The general idea of this AU is that the Hermits end up in a new world that has Genshin-esque mechanics, on top of the usual Minecraft shenanigans. So, Visions and stuff. Also, we’re gonna just…briefly ignore the actual Genshin lore in regards to how Visions and Gnosises (Gnoses?) come about, for this one.

Post-S8, the Hermits are travelling to a new world, ready for another season.

The moment they arrive, it is clear to them all that…something is different. Something is vastly different with this world, for all that it appears much like the previous servers that they have lived in and travelled to. There is something of a…presence to it, in a sense.

When the Something Different doesn’t appear immediately, being the demigods/almost-deities that they are, they go about their days, setting up starter bases, gathering the basic resources and tools, the usual beginnings.

Things change when Doc wakes up one morning after a hard day at work building a new redstone machine, to find a small glowing chess piece lying next to his head, crackling with an ethereal purple light

Upon picking it up, he feels a burst of energy, almost like that one time in the previous world where he and Ren built a lightning-summoning tower

However, the changes it has wrought become apparent later that day when Scar comes out of nowhere with the recording of a creeper’s tell-tale hiss and explosion, and Doc sends him flying backwards with a startled blast of lightning

At first, they chalk it up to ‘Something Funky With Doc’s Current Project’, but after some tests, some experimentation to confirm if it was a one-off reaction…they end up confirming that they may have found out what the Weird Thing about this season’s world is

The duo go to Xisuma with their findings, and, to their collective surprise, X can’t find anything blatantly broken in the server’s code, but he does find a few interesting lines within.

By all appearances, this is not a glitch, but simply an intended feature of the server

Seven lucky hermits, designated as Archons in the server code, will receive a Gnosis, an artefact of elemental power that the server can assign, given to the ‘player who best suits the element’

The server notes speak of how the power granted (and represented through the chess-piece-shaped item) will grant the receiver the capability to shape the land around them

By random chance, other players on the server will also be gifted a Vision, a somewhat lesser artefact that will still grant them a form of elemental power

Given that the Hermits are practically gods in their own right, considering they are already capable of shaping the worlds they arrive in as they see fit…are more curious than worried, at this point

They agree to keep an eye out, to see how chaotic the sudden acquisition of elemental powers will turn out

The next person to receive a Gnosis is Grian, who delights in the bursts of wind he can use to buffer his flight, gliding across the server with naught but the turquoise magic the server has seen fit to grant him

After that, most of the Hermits soon receives some sort of Elemental power from the server

A Summary of Who Gets What (That I can think of so far):

Doc: [Electro Archon]

Can summon lightning, without need for a trident, a thunderstorm, or a machine that can generate an ongoing thunderstorm for as long as its activated

Can also generate an Electro shield, though it does require his active concentration to maintain for longer than a few seconds. This shield appears like a charged creeper’s aura, except purple

Capable of generating a thunderstorm at will, but rarely does it on account of mob spawning dangers

Has found that by channelling a low level of Electro energy, he can in fact power redstone machines just by tapping them/being in close proximity to them

This has proven to both be a blessing and a curse, considering that on occasion, when startled, he has short-circuited some of his machines

Grian: [Anemo Archon]

Generally, uses his powers as a free rocket boost for flying around the server

Upon finding out that he can use the Anemo energy to create pockets of energy that can boost flight, he takes to leaving them all over the server, in convenient locations to make flight that much more efficient

Yes, he absolutely sets up a fancy elytra course that makes use of his flight-boosters to send players rocketing around a course at breakneck paces (poor Scar experiences many instances of kinetic energy)

Bdubs: [Geo Archon]

Suddenly, making mountains and other works of major terraforming is a lot easier

Certainly, he still prefers to sculpt them and detail them by hand, but bringing the basic shape of the mountain forth by brandishing the power of Geo is something that he can do with ease, in this world

A new shop pops up in the shopping district rather quickly after this realisation: Bdub’s Landshaping Service, Now offering quick terraforming at a budget price! (it is, in fact, a service that makes him quite the amount of money)

And when he wants to sleep, without the other hermits breaking his bed? A glowing shield of steadfast golden magic takes care of that.

Gem: [Dendro Archon]

The patch of the server that Gem has claimed for herself quickly springs to life as plants of all varieties grow to surprising proportions, energised by the power that she now can radiate

The effect is most notable in and around her home, of course, but wherever she travels, the plants grow more vibrantly for days afterwards

Adding a forest of birch around her house takes little more than a thought, a fact she uses to prank some of her friends, those who in the last world were rather vocal about their dislike of non-stripped birch

Another power Gem finds herself with is the ability to summon vines even without a surface for them to initially grow upon, and thus it is not uncommon to see Gem building or resting in a hammock of woven vines

Cub: [Cryo] (cannot make up my mind if I think he’d be Archon material or not)

Gathering powdered snow has never been easier, as instead of waiting for a storm to form and last longer than it takes a Hermit to get into the nearest bed, he can simply clap his hands together and a lump of snow shoots out from just above his shoulder.

It does hurt, getting hit by the sudden snow barrage that Cub is now capable of, but except for the occasional snowball fight, his newfound snow-creation ability is used for making increasingly more insane mob farms and snowy building decoration

False: [Pyro]

The magic her Pyro Vision grants her doesn’t become apparent, not for a while, until she visits the Nether for the first time in this world

A mis-swing in a bastion, and suddenly a horde of piglins and hoglins are chasing after her, and there isn’t enough time to pillar away.

She readies her sword and shield, ready to fight, and suddenly her blade crackles to life with bright flames, unlike the fire aspect enchantment in that it actually is on fire.

Every attack she lands, whilst her sword is alight, seems to invigorate her, return strength and stamina that was lost when she had first tried to flee the enraged inhabitants of the bastion

Xisuma:

The admin is one of the few to not receive a Vision or a Gnosis

Quietly, he does admit to being relieved, considering his powers as an admin are already much greater than that of the other Hermits, for all that they are still his equals

And then, one day, whilst X is placing his diamonds to sign up to one of Grian’s newest competitions, he feels a rush of foreign magic, so unlike the familiar ordered pulses of server code

The blast of wind that comes with a swing of his sword, much later whilst he is mob-farming, is greatly surprising, if not unexpected.

The funny thing about all these new powers, granted by the server itself in the form of artefacts that can easily sit in one’s palm, is that for all they are miraculous on their own, the natural capabilities of the Hermits are already enough to rival them

In the hands of an ordinary person, an ordinary player, the powers from this world would bring them close to the near-omnipotence of Creative, could even be the driving force of server-wide conflict.

Powers such as these, while they can build great things, can so easily be used to destroy, to cause war and destruction, and in other realities, they have.

Perhaps whatever trick of fate that caused the server to be capable of granting these powers hoped to create that conflict, to see what would happen when only a few of their number were gifted such strengths.

Later, when the initial surprise and rush to test out the limits of the server’s granted magics dies down, Zedaph approaches Xisuma, one of the few to not possess an artefact of elemental magic, with an observation

Zedaph notes that, from his studies of the Hermits’ new powers, almost all of them are oriented vastly towards combat, whether they be summonable blades of frost, elemental shields, or even the ability to soothe aches and hurts

And even though the Hermits have all found ways to make those powers work in the ways that they wish them to, it does not take away from the fact that the likeliest original purpose of this server’s magic was for fighting

Any other server, any other group, Zedaph quietly says, and there would more than likely have been bloodshed, given the inequality in the range of power granted

At the end of the day however, unexpected gifts of power or not, the Hermits, at their core, are a group that creates and innovates, a band of friends that shape entire worlds with naught but their own ideas and willpower, and regardless of what powers they now possess in this particular realm, that will not change.

#hermitcraft #hermitcraft au #genshin impact #i tentatively tag genshin as well even though its only by a rather vague association lmao #in which i take some of the mechanics of genshin and go 'hey it would be funny if a bunch of practically-demigods got even more powers' #carminite writes

[karolinadariaflora-blog]

On this winter night, sitting by the fireplace, I feel like sharing some more thoughts, cause I’ll be gone for a while, and had never been good at answering questions I get on here or at any digital contact whatsoever… Anyways, it’s been some time, cause already in 2013, after having met Bianca Casady, cross-disciplinary artist of music duo CocoRosie, I gave an extensive interview that, along with my photos, was published in the second issue of the magazine Girls Against God, that she created in partnership with artist Anne Sherwood-Pundyk. If I was to answer these questions now, 4 years later, many of them would have been answered differently, some using less, other more words. But even after all the time that had passed since, these words will still put some landmarks in the landscapes I portray and invite you to travel through with me. Thank you everyone for joining me on this journey, with love,

K.

’’The second issue of GAG—a pocket book of practical magic—investigates and celebrates spiritual healing, instinctually tying together the earth and women’s bodies. Through essays, fiction, poetry, interviews and spells GAG Issue 2 delves into the roots of occult earth wisdom passed through generations of women against persecution and patriarchy. A boldly feminist exploration and multi-generational endeavour, GAG deploys the arts to illuminate the oppressive, obsolete nature of traditional, male-defined religions and other patriarchal institutions—“We must resist and reinvent,” Casady declares.’’

GAG kicked off at the 9th Annual New York Art Book Fair in 2014. You can still get a copy of it here 

Who are the people in your photographs?

Karolina: These are different aspects of the feminine energy, taking form and telling stories. They are archetypes, and each figure bears a lot of symbolism for the viewer to decipher. Even if I portray a man, he represents a more intuitive, heart-centered, feminine part of himself. These personas understand the language of the birds, can see the eighth color of the light spectrum, they lived through snake bites, and they all well remember their star origins. Very often these photographs are my auto-portraits in a way. Each silhouette walking away, seen from behind, represents my nomadic urge to follow the setting sun, to always be free, to always stay on that self-rememebering journey.

The figures in the photographs seem to all belong to the same utopian world. They look like members of some imaginary nature tribe. Can you tell us something about these figures and the landscape they move in?

K.: They are Healers, Shamans, Cosmic Dancers, Weavers of Magical Realities, Wise Men, High Priests and Priestesses, Keepers of Divine Knowledge, Goddesses. They are all Free Spirits and they all live here. It is the reality where you can manifest your dreams instantly, with no fear, where looking inside the dark, spiralling vortex expands the consciousness. I let my spirit travel on its waves and it takes me to the center of the Galaxy. I know I cannot take anyone with me, it’s a solitary journey, it leads to the heart, but I can bring back some things here, and so I do. The most amazing things happen when I meet souls who have been where I’ve been too, or when I explore universes that are the core of their hearts. When we find each other, the recognition on a soul level is immediate. I feel thats’s why people  share their worlds through art — when they find members of their star families, everything falls into place.

Is there some ritual or folklore you think our materialistic and secular culture is missing?

K.: Yes, there are two. One of them is opening all indigenous sacred ceremonies. Connecting your heart with the heart of Mother Earth and Father Sky is one of the most beautiful and important meditations. When the love it creates fills you, a very unique vibration enters into your spirit. Then you can feel the immense love for yourself, remember who you really are, and finally enter your heart. No meditation and no ritual can be performed properly without first  establishing that connection. It’s called the Unity Breath. Just by practicing it, the most unthinkable miracles have happened in my life — images from my heart became real in no time. Another thing would be if more people became aware of the real potential of the sexual energy they carry (that Egyptian Tantra speaks about, for example.) It’s been long forgotten, neglected by the churches that did not want people to use it. It is based on the electro-magnetic charges feminine and masculine energies possess (not genders.) Feminine energy is magnetic and masculine energy is electrical. The exchange happens on the atomic level, creating a frequency that opens consciousness to higher realms. Everything can be brought into existence from that connection, but the base of it has to be love, always.

Is there a division between art and life for you?

K.: For me there is no such a separation, and I just can not live in any other manner. But actually, my life contains more beauty and magic than any creation of mine will ever bear. Before I started documenting these things that happen to me, I’ve been making stuff and living like this for years, not calling myself an artist, it’s just a record of my life. It is up to the viewer to determine what is art. Nature and all that’s beyond it in the universe is the pure, real art that no art gallery, theater or museum will ever be able to host because our own, unique experience makes it the most special art for us. Maybe only music gets close to the mystery of it all.

How did you feel about making a show in an independent art space, can you tell us something about that experience?

K.: I never thought of making an art show, I just enjoy the creation process, grounding me in the present moment. What happens with it all afterwards does not interest me much, but because I was invited to make a show that would  be followed by a week of my crystal healing sessions, I prepared a good healing space to perform it in. I thought that was a good idea. It was marvellous to meet so many beings in the heart center, and see their light and beauty during that week. The event itself was a four hour lecture on all these dimensions I communicate with, which was more typical for a traditional show.

Can you tell us something about your process? What inspires you? Do you speak to angels? Do they influence your creations?

K.: Usually I just feel like there are some things that are suspended somewhere there, waiting for someone to tune in and bring them to manifestation, so I am more a channel for things to take form through me than a creator. I know it could have been anyone, but it happened to me. Of course I get very inspired by the indigenous nations of different cultures, tribes who follow and respect the rhythms of the cosmos. Though the most profound inspiration are the moments of unity with all existence that bring me to an experience of eternity and purest love that I believe is the essence of each atom. I don’t have verbal contact with angels, but I see them as light orbs of different colors of light spectrum and beyond, and there certainly is a communication with worlds within, without, above and below. Spirits of nature, fauna and flora, minerals and these angelic entities show me around, explaining how things work. That is a communication based on a deep trust — listening that is hearing, looking that is seeing and feeling that is knowing.

Did you go to school? How did you educate yourself?

K.: I think that more useful for me was unschooling. I received a very strict, Polish education that kills individuality. After that I needed to erase from my head a lot of harmful data, but along the way I taught myself about everything just by observation of this reality and realities beyond the visible, sense-perceptible world. For example, all my knowledge about mathematics, astrophysics, or any new language I learn is just a download, without much of the learning process. And I have no idea about how to use sewing machines, weaving techniques, cameras, computers, mathematical formulas, grammar of languages I speak. I just get it and do it.

What’s your relationship to possessions and how does this express itself in things you create?

K.: I don’t normally feel attachment to my belongings or things I have created. The Universe knows about it, so my possessions often get consumed by different elements, or just disappear or reappear in the most bizarre circumstances. I often leave things behind or give them away. It’s good feeling to free yourself from objects; it gives more space for your self. Actually, just recently I worked in the forest for many hours, weaving on the looms I made on the flat tree trunks that were cut down. I left all my weavings there for them to experience the cycle of the seasons, growth and death, and just to be. It cheered up the forest too.

What personal dreams do you have for the future?

K.: I don’t know much about the future, I only want to stay happy and live from my heart, no matter the circumstances. I could be of better service to others. But maybe I will learn the language of some exotic birds and plants and fill my life with more of dance and music, rather than with this meticulous handwork, which taught me about the dimension of time.

Are you a witch?

K.: I use healing plants, communicate with animals, and have always had some cats. I’ve seen my thoughts manifest in front of me. I have healed myself from some serious stuff as a kid, heal others when I’m allowed. I have expanded vision, I follow the moon cycles. I live the magic, I make magic, I am magic.

#all is magic #:)

[postsantablog]

FROM THERE TO HERE - AND FROM HERE TO THE UNIVERSE FORTH

Curator Panu Johansson's thoughts about the media art pieces in the Young Arctic Artists exhibition of 2019

The third incarnation of The Young Arctic Artists exhibition is currently displayed in Gallery Napa and Studio Mustanapa in Rovaniemi, Finland. The theme for this year's exhibition is the Transmission of Knowledge and the show contains works from altogether eight artists around the Northern Hemisphere. The exhibition has been curated by yours truly in cooperation with Ninni Korkalo. In the following writing I will introduce some of the media artworks of the exhibition. Simultaneously I'll try to open up their background slightly and also present some of the thoughts they have managed to provoke.

The first piece of the exhibition greets the spectator already before arriving to the gallery space. Norwegian artist Guro Rex's video work The Universe Is Da Club is displayed on the gallery window. Short video loop documents an event where a young woman, dressed in the Norwegian national costume, pops up a bottle of champagne. What pops up on the screen after this, is the title of the piece on cheesy gradient letters. It feels almost as if the piece is asking: Are you glad to be alive today? Maybe you should, 'cos this particular space and time, this cosmos, is the place to be.

The world of Guro Rex continues downstairs in the first room of Gallery Mustanapa. Firstly the space contains a monitor, where several videoworks are running on a loop. Secondly, on the walls there are a few examples of a somewhat autobiographical email project that the artist is running. And most importantly, this project is something that everyone can participate in. All you need to do, is send a message saying ‘what is love baby don’t hurt me’ to [email protected] and voilà – you will soon start to receive gallery spaces right in to your inbox!

The same personal voice of the author can be heard in the presented videoworks. They are an interesting mixture of just about everything, as if they were results of continuous creative explosions. As a spectator they make you anxious: you have a feeling nearly anything could follow. The colourful mixture of numerous elements create associations towards  Jacolby Satterwhite and the continuous poses maybe a hint of Pipilotti Rist, but above all these works seem to be influenced by the current world of online videos on social media.

The ingredients of the videos are familiar, but they are somehow exaggerated so that the result becomes completely overloaded – and fun. The hand-held camera seems to suffer from a chronic shiver, images are transitioned with a very lofi pixelated crossfades and somewhat unrelated clip art animation loops just keep on appearing. Fairly cheap looking background templates are also in frequent use. The videos are mostly concentrated on a person or two, who speak or perform straight to the camera. Sometimes the outcome resembles a video diary, other times a performance. Expressions are unashamedly overstated and voices are often pitched either helium high or extremely low. The chit-chat rolls around topics we all know, from various ”projects” to why ”I'm better than him, they just haven't discovered me yet”.

As mentioned, these elements are something that we all know, but it's also important to emphasise that these videos are not plain parodies, nor critique. They clearly benefit from being exhibited in large numbers, because this way it becomes obvious that they are rather parts of the personal expression – or dare I say universe – that the artist has created. Of course it easy to draw links and connections to many directions. For example, one could say that these videos reflect how the artist is looking at our own time through a distinctive prism and simultaneously manages to capture something that is culminating right now. This could very well be the case and that might partially create their charm. One the other hand, their appeal may simply come from the fact that this universe actually is _the_club - and nuff said with that!

https://vimeo.com/gurorex

The Norwegian Sámi artist Elina Waage Mikalsen presents a piece called “Mun bijan iežan beallji ránu beallji vuostá / I put my ear next to the looms ear” in the exhibition. The author defines the work as a sonic loom and that is indeed quite an apt description. During the exhibition the actual piece is displayed in two different contexts. First Waage Mikalsen performed with the piece at the exhibition opening and throughout the rest of the exhibition period the piece is displayed with a running audio loop that was recorded from this performance. Both forms also stand independently on their own feet, hence you can enjoy the exhibited piece without seeing the opening performance.

Elina Waage Mikalsen performing at the exhibition opening. Photo by Kaisa-Reetta Seppänen

The artefact of the piece is an old loom that used to belong to the author’s grandmother. For the piece the artist has modified the old device in a way that it has become something completely else: an instrument. Where there used to be weft threads, there are now strings. These strings are then bent with rocks whose weight tightens them and makes them playable. During the performance Waage Mikalsen also placed several mics around the object to capture the sound of the strings but also the resonances, tones and noises from the object itself. Further on, these sounds were yet modified with electronic effects.

Photo by: Kaisa-Reetta Seppänen

The cultural background of the piece lies in the Sea Sámi culture around the area of Olmmáivággi/Manndalen, where the author’s Sámi roots are located. This area has maintained a rare handicraft tradition of vertical loom, which is the type the loom of the piece also represents. These looms are used to weave multipurpose textiles called as rátnu. Previously used in various purposes in everyday life, today these textiles are more of a decorative. The making these handicrafts was traditionally concerned to be an area of women, and they were sometimes made also together in groups.

The audio of the piece lasts about ten minutes. It  starts off with clacks of wood and scraping of the strings. Delay and reverb are apparent right from the start as well. As the works moves ahead, slowly but steadily more and more electronic particles start to appear in the sonic architecture. At one point the strings really start to vibrate and the intensity clearly grows. Banging of the stones can also be heard in the background.

During the last minutes of the audio the author's own singing voice sneaks in to the aural landscape. Do you know the moment when a piece all of a sudden comes beautifully together - when all just clicks? With this work, this is that moment. It is intriguing how this one additional element turns out to be the last piece of the puzzle, that nails the whole. The presence, that is already in the piece, suddenly becomes somehow audible, materialises. But whose presence is that? Is the voice a howl through times, from the past to the present? Or is it the other way around - from here to there? Or perhaps it's both at the same time? In any case one could say that in the piece several elements and their presence overlap in a natural, unforced way. That is: the presence of the author at this time and the strong presence of the history through the artefact. Thirdly there is the soundscape which reflects both today and the past and thus ties these two delightfully together.

Overall, the associations that the works creates in different directions are compelling. Bent strings of course point towards the world of traditional tonal music. When listening the piece, particularly Finnish group Memnon comes to my mind. However, to be precise this piece is not about that. It is neither a collage nor musique concrète which use old archival recordings to create new entities. Nor is it the type of experimental music, which is based on sole experimenting with the technology. Instead of all this this, I would  say that this piece is a fascinating effort to interpret the material culture of the past and a soundscape related to it in a completely new way – to put one's own ear carefully against the loom's ear – and place it in the new framework of contemporary art.

https://vimeo.com/elinawaage

https://soundcloud.com/elina-waage-mikalsen

Guro Rex's pieces are not the only ones located in the Gallery Mustanapa. The large backroom of the gallery contains a two channel video installation In Silico by Laura Heuberger, who is a Swiss/Italian artist currently living in Northern Sweden. The title of the piece is an expression, which means “performed on a computer” or “via computer simulation”.

Photo by: Janne Jakola

The piece starts off with a monologue that addresses someone, perhaps the spectator, straightforwardly. The voice is soft and gentle, although the timbre sounds slightly like a machine:

“Hi. Please make yourself comfortable...I never know what to say in these situations. I'm very quiet sometimes. I'd usually rather listen...What's the best icebreaker you've heard? Once, I had someone approaching me with one of those very cheesy pickup lines. It was so weird...I like travelling, seeing new places, meet new people...But it's been a while ago. Now I'm here.”

As the piece advances the viewer travels through different micro- and macrocosms on the screens. Visions that unfold could be sometimes interpreted as pulsating stars and planets orbiting in space, other times as bustling bacteria and other microorganisms under a microscope. The flow of water or other liquid is also a reoccurring theme. The images are accompanied by occasional glimpses of peaceful ambient soundscapes.

On the audio track the aforementioned chat evolves into a long string of topics that reminisce old childhood memories, personal diary notes and philosophical pondering about the nature of existence. But not without interruptions. What takes turns with the gentle voice number one in the audio track, is a second voice, which is clearly synthetic. With a very dull intonation this second voice goes through conditions and details, which would allow a human mind to be simulated. In contrast to the previous personal touch, the overtone of the second voice is clearly formal and academic. That is not a surprise, since the parts spoken by this voice no.2 have been quoted from the article Are You Living in a Computer Simulation? by the Swedish philosopher Nick Bostrom.

What Bostrom is claiming in the article has become known as the simulation argument. Basically what he is saying is, that in the future as the computing power increases the simulation of the human brain might be possible. Bostrom does not claim that we are currently living in a simulation. However, he argues that there are three different unlikely scenarios, out of which one is almost certainly true:

1. Mankind will never evolve to a level where human mind can be simulated.

2. Or then it does, but for some reason – such as ethical or simply a lack of interest – this kind of technology will never be taken in use.

3. Or, we are currently living in a simulation.

The idea that the whole reality as we perceive it is just an illusion, is of course not new. Already Plato presented The Allegory of The Cave that aptly demonstrates how our view of the existence could be only one out many possible. Also the Chinise philosopher Zhuangzi has introduced the famous dream argument, which has also been called “The Zhuangzi Paradox”. According to it we can't really say weather the whole reality is actually just a dream or not. The idea of the reality being simulated or otherwise artificial is also a common theme in Sci-Fi. Already in 1977 Philip K Dick presented that we are living inside a computer simulation. Still, I would say that the modern simulation theories are simply mind boggling.

If the reality around us can be just a simulation or a dream, how do we truly know what’s real? I guess the answer is, that we profoundly don't. But on the other hand: if something feels real, isn't it real - even at some level? And what is “real” anyway - how do you define it? What is the opposite of real? False, unreal, bogus or artificial? Are the stories in the piece real? Does it matter?

Photo by: Laura Heuberger

One of the biggest merits of In Silico is pointing out the vagueness of the border between something authentic and synthetic, real and unreal. It is almost impossible to define it - let alone in a universal way. Another important question that the work touches is the way we are accustomed to outline the situation. You have to be this or that: true or fake. Is this kind of starting point - a dichotomy - even a valid way to describe the actual situation? When talking about simulated reality, most people will probably go over to top and think of something like The Matrix. If something like this is even remotely the case, is a completely different thing. More probable is that this kind of simple reality/illusion  juxtaposition is a man made concept. The validity of our reality can certainly be questioned, but a good way to begin the process might be to concentrate on our start off assumptions first.

http://www.lauraheuberger.com

http://www.lauraheuberger.com/#In_Silico

Young Arctic Artists exhibition is open in Gallery Napa and Studio Mustanapa until July 30th.

http://lapintaiteilijaseura.fi/en/gallery-napa/gallery-napa/1402

http://lapintaiteilijaseura.fi/galleria-napa/galleria-napan-nayttelyt/1402

Panu Johansson