segunda-feira, 27 de outubro de 2014

SLEEPOVER™ is a drug created by quantum lyricist Rogério Nuno Costa, under his Nordic alias Riku Nuutti Koistinen, in 1917. Koistinen theorized that at birth, the human mind is infinitely capable, but each force that it encounters (social, physical, intellectual) begins a process he called "limitation" — a diminishing of that potential. SLEEPOVER™ was designed in hopes of limiting this "limitation", preventing the natural shrinking of brainpower, resulting in people with increased mental, artistic and trans-dimensional ability. Due to the fact that SLEEPOVER™ only prevented the limitation of the mind's potential rather than reversing it, it had to be administered to young dogmatic specimens (whose potential had not yet been limited) in order to produce any results. Well-known entertainer Erwin Schrödinger states that SLEEPOVER™ works by enhancing people's abilities of perception. He explains that reality is the way we perceive the world around us. Following the voodoo master Dr. Phil: “There is no reality, only perception”. Therefore, by changing perception, we change reality. And by changing reality, we allow ourselves to overcome Denial™, to surpass Acceptance™, and finally embrace Gratitude™. However, while normal people can only change their perception, SLEEPOVER™-positives can change other people's perceptions as well, thereby ruling inter-human relational dynamics. Notable politician Marcel Duchamp, under his alias Rrose Sélavy, is an example of this. When his moods changed, his perception changed, and therefore his reality, and Reality™ for that matters, changed: rather than depicting it as it should be, he started revealing it as it IS. Unwittingly, Duchamp caused a change in perception of those around him (people and objects included); by doing so, he was then one of the first cyborgs to travel do the Other Side™, operating the first dimensional clash that eventually led to the destruction of the Great Narratives and subsequently the End of the World™, in 1999. In other words, his moods were contagious, like a reverse-empath. This is how Andy Warhol, one of the most famous Duchamp’s doppelgängers, was able to defuse Walter Benjamin's aesthetically-reproduced Conceptual Time-Bomb™, by reversing time-space lineage and mechanically turning Lascaux’s walls into Macintosh tablets connected to the World Wild Web. As a consequence, the Ancien Régime’s jesters Nicolas Bourriaud, Yves Michaux and Arthur Danto committed suicide. SLEEPOVER™ induces different abilities among test subjects. Riku Nuutti Koistinen developed a psychic link with his test partner Thomas Hirschhorn. In 1891, a 3-year-old Koistinen appears to cause an "incident" in proto-Deleuze and proto-Guattari’s lab, causing a large portion of his room to appear charred or burned, which was perceived by many scholars as “art”. According to proto-Deleuze, this happened because Koistinen was triggered when he became too self-conscious of his own abilities, therefore tremendously anxious and upset, emotions that at the time were categorised as highly creative. In “Epidemic”, Lars von Trier’s first essay on Logics and Semiotics, SLEEPOVER™ subject Thomas Vintenberg grows agitated, and then self-immolates when he is unable to control his pyrokinetic abilities. His identical twin sister Gus van Sant, who also had been part of the Hell-Sink-Ya SLEEPOVER™ trials, was triggered by extreme emotions but able to focus his pyrokinetic ability on Harmony Korine with coaching from Koistinen himself. Terminally-ill Mark Dion, one of the greatest astro-physicists of the Third Dimension™, was even able to exchange energy with his SLEEPOVER™-tested peer Thomas Hirschhorn, just by touching him. This enabled Hirschhorn's condition to improve for a short period of time-space, moving his entire oeuvre from Helvetica (First Dimension) to PetaByte Cursive (Twenty-Seventh Dimension). His step-sister Miranda Julie visited him in First Dimension’s Portland, Oregon, but eventually collapsed and died. After Hirschhorn visited Damien Hirst, Joana Vasconcelos, Avelina Lésper and Slavoj Zizek, each died within minutes of contact with him from aggressive formal tumors. In “The Art Of Bowing To The East Without Mooning The West”, the Imaginary Museum team asked quantum sorcerer John Cage, an undocumented SLEEPOVER™ test subject, to read the mind of unconscious bed-ridden Stockhausen and identify two other suspects — Aalto and Sibelius. In the adjusted First Dimension timeline, Koistinen recalled Subject 3, who after been treated with SLEEPOVER™ was able to perform astral projection, creating distortion in the magnetic field and attract metallic objects who really looked like objects. Subject 3 is Chef Rø, a well-known Portuguese medium. He claimed that he never been able to astral project after the SLEEPOVER™ trial ended; however, the bad side effects eventually led to uncontrolled telekinesis, making him move metal knifes, forks and spoons in a three-dimension canvas. He later helped the Third Way™ Division to displace the energy and create what is now called Re-re-re-Realism [aka Stutterer Realism]. Moreover, SLEEPOVER™ test subjects could be immune to each other's ability. The famous transexual Marina Abramovic was not able to read Duchamp's mind, and young Jean-Luc Godard was not burned by young Sigmund Freud's pyrokinetic outburst. SLEEPOVER™-positives must be activated in order to use their abilities. Riku Nuutti Koistinen mentioned to Schrödinger that he was visited by a "strange man with 27-D glasses", who is presumably responsible for activating him. Schrödinger himself claimed that he was visited by an unidentified man, who told him he could learn to control his cybernoia because of testing done on him as a child in Amares. At the conclusion of “Third Way™”, Koistinen is seen in a drug-induced coma in an unidentified facility. Together with Tom of Finland, his psychic energy allowed him to cross over to the alternate universe. At the conclusion of “Third Way™”, mathematicians Aldous Huxley and George Orwell eventually monitored Koistinen during his immersion in the sensory-deprivation tank in the lab on Bracara Augusta. They noticed that his brain chemistry has spiked, and identified the dormant synthetic compound bound to his neurons. They estimated that it has been there since he was abducted by Portuguese art critics. Testing continued through the Spring of 1896 and Koistinen crossed-over to the parallel universe several times. A combination of love and terror is attributed to inducing his ability. While disintegrating his abusive critics, seven year-old Riku Nuutti Koistinen [aka Rogério Nuno Costa] transitioned to a large forested field, fell in love with a 24-light years old literary robot, and immediately froze. This process was then called Global Cooling™. A spinal tap administered to Koistinen by Samuel Beckett boosted the patient’s residual abilities, who later on appeared to be intertwined with Orson Wells’ code of Aesth(Ethics). From that moment on, he decided not to leave the Twenty-Seventh Dimension ever again, developing a powerful ability to detect fakeness, trickery and fraud.

domingo, 27 de abril de 2014

Residências Artísticas



Há uma elite que se autopromove através da arte que define, e vende, como mercadoria internacional. A actividade desta produção é mistificada através de todos os meios de promoção mercantil, e os seus operários — os escravos das indústrias criativas —, tornaram-se manipuláveis e marginalizados através da construção da sua identidade em torno da noção de “artista”, e tudo o que ela implica: residências, festivais, concursos, plataformas de programação e outras feiras de gado. Chamar a alguém artista é negar a outra pessoa a capacidade de visão semelhante; assim, o mito do “génio” é apenas mais um rosto da justificação ideológica da desigualdade, repressão e fome. O que o artista considera ser a sua identidade não passa de um conjunto burocrático de atitudes e preconceitos semelhantes aos que aprisionam a Humanidade ao longo da história. Devemos rejeitar os papéis construídos em torno destas identidades falsas, assim como os produtos concebidos para a sua promoção. O nosso intento é questionar o papel do artista e a sua relação com a dinâmica do poder e da economia, dentro da nossa cultura.

Toda a gente sabe o que está errado!

Sabemos também que esta preguiça falhará por várias razões, a primeira das quais porque é uma má ideia. Mas levantará várias questões pertinentes. Em termos relativos, a preguiça só pode afectar as pessoas que optam por ser afectadas por ela. A preguiça é, nesse sentido, tão impotente como qualquer outra acção artística contemporânea. Para aqueles que ignoram a arte, ela poderia muito bem já ter desaparecido. A preguiça edifica outro novo momento da História da Arte: o término lógico da trajetória que começou quando os artistas se afastaram do universo ao qual pertenciam, e conseguiram não apenas alienar a maior parte da população em relação às artes, mas também alienar as artes em relação à cultura. A preguiça como novo avant-garde pretende penetrar no último acto desta comédia auto-destrutiva. Nós não podemos viver preguiçosamente neste mundo sem falar sobre isso. Cabe-nos comentar longamente a tentativa vã de justificar a nossa posição em relação à preguiça criativa, ao ócio antónimo de negócio, mas isso equivale à tentativa de justificar a nossa contínua "criatividade". O que permanece obscuro em tudo isto consiste em não requerermos qualquer tipo de justificação; SER é para nós suficiente. A necessidade de expressão parece-nos apenas sintoma da mais terrível insegurança. Através das mais variadas expressões artísticas, apenas procurámos a relação perdida, porque toda a nossa expressão natural foi destruída (por inúmeras razões civilizacionais). É esta ânsia de conexão com o outro que impulsiona a expressão. Mas que conexão real existe entre o artista e o público, ou entre as pessoas, de forma a justificar a arte, quando o alheamento entre o artista, o público e a sua cultura se tornou tão completo? Todos nós queremos ser amados. Mas consideramos a arte coisa inútil para esse fim. Exigimos pois que a “preguiça d’arte” se torne unânime e permanente.

Texto-manifesto escrito por Nuno Miguel para o programa do espectáculo "Residência (Artística)", em Março de 2012, e assinado pelos seus criadores: Rogério Nuno Costa, André Santos, David Bernardes, Diana Coelho, Marta Coelho, Roger Madureira e Tânia Figueiras Ribeiro.