ATLAS OF ID

 ATLAS OF ID

Developed in the context of CODE 2022

CODE 2022 is the second edition of CODE. The project is organized by IMPAKT in collaboration with the Berlin School of Machines, Making & Make Believe (Berlin) and this year also two Belgian organizations: Werktank (Leuven) and Privacy Salon/Privacytopia (Brussels).

It will be presented at the ARS Electronica festival Linz September 7th - 11th 2022.

With Michaëla Stubbers

Within the project ATLAS OF ID we developed a survey webgame.

The ironic goal is to alter our future possibilities by filling in this survey. Your options are a typical 3 varying between yes, no or maybe.

Translating reality into data assumes that machines can read and comprehend it. Can machines translate reality’s full flavor? Or are the translations, more interestingly of a totally different alien order?

“Play the game NOW and alter your future possibilities FOREVER” is a survey text webgame that ironically poses statements wrapped like questions and vise versa like:

• We make forecasts about people just as we make forecasts about the weather.

"We make it real!"

case “Yes":

text = "Excellent choice. Consumer thrust is good for business.";

       

case "No?":

text = "We do!";

case "Maybe":

text = "Really! We do!";

• Play webgame (best with Firefox)

pragma

 

Play short version 

• here and 
• here and 
• here.

PRAGMA, A MULTIPLE IN CROSS CORRELATION.

 

PRAGMA, A MULTIPLE IN CROSS CORRELATION.
Illustrated Book in progress.

(Introduction page)
I am in acoustic space. Gently pulsating bells are dotting the surface as far as I can see. The idea of color is entirely lacking, but I know it's there because of the elaborate geometry. 

In the back of my head lives a memory of something, something from here. I'm trapped in this universe. One in which there are no stars, no nights, and no tides. Yet, there are just the miniature bells, glowing in a sea of grey darkness. Light rains down on me, low and vibrant in the interior. Once I pass through the border, I will see it. For the first time in years, I know that there is something else out there. The sky is hazy and dark, with grey clouds and dark water. I know what they are: they are memories. Over the course of the next five years, they’ll fade until they are indistinguishable from the surrounding sky.

A sea of orange color, generated by billions of microscopic creatures, rises up from the depth. It's an intense color, like nothing I've ever seen before. Life is scattered almost everywhere like a fine dust. I blank my mind and relax my body. The tunnel will take me to the next spot. The creatures inside me show the gooey orange gunk that comes out of my body. I like this. “I will return here”.

THE FUTURE IS CODED

The first version of THE FUTURE IS CODED (videogame 20 min.) will be presented at the exhibition Differences which opens on Thursday September 9, 18:00 > 23:00 on the occasion of Brussels Gallery Weekend and will remain open that weekend Friday September 10 till Sunday September 12, 11:00 > 19:00.

 

Afterwards, the exhibition will be open from September 16 till October 3, from Thursday till Sunday, 11:00 > 18:00.

Gosset Site, Building A (first floor) 
Rue Gabrielle Petitstraat 4-6, 1080 Brussels 

Play short version here

THE FUTURE IS CODED refers to a future that's already present here and now but remains somehow inaccessible to us. It's an old philosophical idea that past, present and future exists simultaneously. If the future exists, it could be accessed like a space or a room. 

In Chris Marker's science fiction film La Jetée 1962 we hear the voice-over saying: 'The future was better protected than the past. After more, painful tries, he (the protagonist) eventually caught some waves of the world to come.'

Since ancient history we've tried accessing the future through mediators. Noise and randomness (chance) are media that are used worldwide to access the future in so called divination techniques. Noise mediates via articulating hidden layers to our conscious mind.

The future is like a wall of noise. We carve our path through time, sifting meaning from noise.

Shoshana Zuboff writes in her book Surveillance Capitalism about big data companies that harvest rich predictive data in the waste materials of our online behavior. The rich data companies are after are in the extra data, in the noise. They use them to forecast our future behavior.

The NOISESCAPES I create in the work are screens of noise depicting settings for a possible future. The videogame is about discovering and experiencing a particular set-up built from layers of noise.

'Invisible lines appear at bottom left, creating what feels like tremors. They resonate outward from the initial mark and become increasingly vague and indiscernible until a point where their origins are all but obscured.'

Pragma is the first character that appears in THE FUTURE IS CODED. She is a multiple and thus so forms a small group with herself.

She navigates in cross correlation with you and reflects what singular action does executed as a group.

'Picking up rhythmic, high-pitched beats, the pebbles vibrate against the body.'

THE FUTURE IS CODED is developed in the context of Ars Electronica FutureLab, Linz Austria of March 2021 supported by Vlaanderen Department CJM.

THE AIRSHIP

The work (in development) is inspired by the dystopian short story "The Machine stops" written in 1909 by E.M. Forster

This story describes a world in which most of the human population has lost the ability to live on the surface of the earth. 

Each individual now lives isolated underground in a standard room, where all physical and spiritual needs are fulfilled by the almighty, global machine.

Fanny Zaman & Dominik Daggelinckx

watch EXERPT

screenings ALGORITHM

LE BAL (FR), Paris 2018
27.03.2018 20h
In program In The Meantime - The Cadastre of our Lives

SPOUTNIK CINEMA (CH) Zurich 2017

JEU. 9 FÉVR. 2017   20H30

SAM. 18 FÉVR. 2017   20H30

LE FESTIVAL SIGNES DE NUIT (FR) 2017
Compétition Internationale, Cinéma Trangressif # 7 Paris

BELGIAN PREMIERE BOZAR CINEMA DAYS JANUARY 2016

BOZAR/Paleis voor Schone Kunsten Brussel

JIHLAVA IDFF (CZ) OCTOBER 2015

WORLDPREMIERE FIDMARSEILLE (FR) JULY 2015

watch trailer

The acceleration and abstraction of trading (from commodities to financial products to sets of data) here takes a major leap as we examine algorithmic trading and the people who perform this type of work. In the end, nothing gets explained and we remain on the outside looking in. Algorithm is an essay impression of a specific area of high finance, set high in the sky in futuristic buildings populated by sharply-dressed characters speaking a mysterious language.  

Director Fanny Zaman Cast (voice cast) Dianne Weller Photography Dominik Daggelinckx Editing Fanny Zaman Sound Geert Vanbever Music Lea Petrasso, Dianne Weller Running time film 38'

Release format DCP Other available formats Blu-ray Aspect ratio 16:9 Sound format stereo Colour Colour Available in  2D

CONSEIL D'ETAT 2016

Film 7 min 32"

Images from the Expo 1958 in Brussels exude faith in modernity, the future, and the possibilities of technology. The soundtrack is from the 1980s, when a series of attacks unsettled Belgium. Sound and image, fear and optimism collide.

SCREENING DATES

- FRONTDOC 2017, Aosta 6 - 11 November 2017, Official Competition Experimental (IT)
- Sarajevo Film Festival, Sarajevo 11 - 18 August 2017 Official Competition European Shorts (BA)
- Visite at Het Bos, Antwerp 13 August 2017 (BE)
- XX edition of the Guanajuato International Film Festival, Guanajuato July 21 - 30 2017 Official Competition Experimental Short Film (MX)
- WIELS, Brussels 27 MAY 2017 (BE)
- International Film Festival Rotterdam 25 JAN - 5 FEBR 2017 (NL)
- Internationale Kurzfilmtage Winterthur |The Short Film Festival of Switzerland | 8 – 13 November 2016 Official Competition International (CH)
- FIAC,Hors les Murs, Films d'Artistes, FIDMARSEILLE 19 - 22 OCTOBER 2016 PARIS (FR)
- FIDMARSEILLE 12 - 18 JULY MARSEILLE 2016 (FR)