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Good, as we all know, guys
aren't made signs in this C.C.C.
events all over the place
and coding is poetry.
Bringing, showing or performing that kind
of poetry is a swell that takes some
guts.
So certainly when you're an artist
and here we have one, we found one.
As an artist, you're willing to open
yourself and expose your
being from inside out.
So it takes some guts.
I have the tremendous pleasure and
the big honor here to introduce to you
Kate jenaveve.
And may I spell his ass
in a French way? Genevieve, that is good.
You say it better than I do.
That's Kate.
She's an artist and a director based in
Brighton.
Her works brings together research
in science, technology
and performance.
Her objective is to explore
how humans sense the environment
and each other.
Is that correct?
That is good.
Stage is yours.
OK, light the Fuze.
Put it in play.
Give her a warm welcome, please.
Thank you so much for coming along.
It is nice to be introduced because it
helps me remember who I am.
I am an artist and
a researcher at the
Sackler Center for Consciousness Science
at Sussex University and
the media performance
department there.
And that started off as
a residency and is now turning into a
PhD, which I have to say is very
difficult over.
But I want to just tell you a little bit
about my group as a way of introduction.
I have always done these big mixed
media projects
ever since I was a teenager in warehouses
or on the street with puppets
and with masks, combining
all sorts of different streams
of information and different stories.
This was a collaboration
in 2010 which brought together
a comics narrative, told in a newspaper
and a projection onto a building.
And performers who are coming
out of that building and that sort of
sense of really
reappropriating the story of
the street or playing
with what constructed reality is,
has been a long term
passion
as his music.
I'll just show you a little bit of
some of the projection projects
that I've worked on.
The music generally sounds better.
There were a band called the Acid.
And we made a
get it was a big collaborative project
with Johnny Fabrizio, we made
a projection performance inspired
by ecology and nature's processes.
And that kind of interest in
ecology really got me into working
with neuroscientists
in the lab and with dancers and
performers.
So this is a
little project I did.
And we were working with this idea of
when you visually recognize
something to be human movements and
when it looks synthetic.
So exploring motion detection
that combining that with computer
animation and then turning it into
a big performance and happening,
which happened in the nighttime.
And I guess that's just to give you a
sort of flavor of the kind
of things that I've been interested in,
but I wanted to talk about hacking
reality, and that was a term that I
picked up in Britain.
There was a there's an organization there
called Lighthouse Arts that was running
a whole series of events
around hacking reality and the critical
engineers work, the art
fertilizer, which when I saw
that little viewing
device that out there,
it was a sort of prototype that imagined
replacing the adverts that you saw in the
streets with works of art
by using this like hacked
little viewing piece.
I was really excited
by that potential.
It seemed to tap into something that I
had a really long interest in.
And I think as much
as paying attention to
how the technologies we use
can shape how we see
and experience the world and
maybe taking back some of
that choice
in how we go through life,
there is also this.
There's rich, these rich mechanisms
we have of our own body.
And the biological processes
of sensing is the
thing that through dance and
choreography, has been
the focus of the performance work.
And I started working
with neuroscientists in the
Sackler Center in, I think, 2011.
And when I started doing that, I
found this interdisciplinary field
of present research and that
seemed to help me suddenly get
some sort of precision about
how we could think about reality
and are
our kind of relationship with it.
And I think the most simple explanation
of this that I have ever found is
J.J. Gibson
in 1979 saying presence
is the sense of being in
an environment.
And that
is what I want to dove into.
Inspired very much by
the work of Shahd Davis,
who was, I think, the VR
visionary of the 1990s
she made almost in 1995,
which was a virtual
reality experience that
you could explore
through your breath like a deep sea
diver. And many of the applications
and the VR games that are coming out now
owe this great debt
to Shar Davis.
And when I started making projects
like this, the technology hadn't turned
up, the Oculus Rift hadn't turned up.
And everyone told me I was completely
mad for looking at something
like virtual reality because the sense
was that it had died.
You know, it had been tried out in the
90s and it was an experiment that failed.
So I was using these little video goggles
in 2011, made a small project
with the children
on this island in Croatia, and
we were exploring how the stories
of our island weren't being told anymore
and the ways of passing
down knowledge and and
apprenticeships that wasn't being done.
There was this sense of, you know,
aspirational living and cocacola
as something the American
lifestyle that we should all aim for.
And yet the if you looked
at the data of what was happening to that
island, there was rampant unemployment
and the younger generation
going into drugs and this sort of sense
of the integrity of
the community really falling
apart.
So we were doing this exploration of how
to how to tell stories again
with media.
And I
did a small video piece
which played in the the town square.
And basically, anybody who walked
past, I would beckoned
over to come and explore this, and
they had the the
sense of being one of the.
Lookdown.
My friend.
Look at your palms,
your palms feel
follow with me.
This is they're looking through the video
goggles, they were moving their arms
around and I was helping them move their
body in relationship with
what was happening on screen.
And when virtual reality arrived,
that was no longer necessary because we
now had an interactive way of doing
that.
I started
this long residency around
exploring
the techniques that neuroscience was
devising to explore
our bodily reality
and.
I want to kind of grounds
that in
looking at the rubber hand illusion as
it would try this, yeah,
this kind of fundamentally shifted
my sense of what
could be done in the world.
So I want to try it out on someone
because it's one of the techniques they
have in the lab to
actually get a handle on how
we can look at our heavy
personal space, which is how
we sense the space
around us and how we
include something in our
own model of our body.
And everyone experiences it
differently.
Some people don't experience and think.
Some people, some people do.
Does anyone feel a drive to explore
this now?
I have made sort of hacked together
this experiment.
I see one hands, please come to me
over.
And this is kind of what I was doing in
the lab. I was exploring all the
techniques and the experiments they had
for looking at our sensory experience.
OK, thank you.
So you got to kneel down because,
you know, this is not one lab conditions
of. But if you
are. Yeah, you know it. That's great.
If you put your other hand out here.
What's your name.
Michelle. Hi.
I'm going to touch your hand
tenderly.
And can you speak
perhaps shout as loudly
as you can the likes, the sensations
that you are feeling.
OK, beautiful.
Oh good.
OK, so kind of wet
feeling it's soft
and you
have to look if you like
eyes smooth too wet
says hand
in front of you and
really focus on where
the paintbrush point touches
the skin itself.
It's cold now, it feels very cold
because the Handsworth.
There's a little pressure, a soft
pressure.
I want you to know Titus
and really feel
where are you experiencing
this touch in
the middle of the top of my hand.
Down the middle
finger.
And where is your middle finger,
where's my middle finger
on the table.
Stick with Sukru the
he the table and keep really
focusing on
these touches that are coming in.
It's.
Can you notice
how you feel in relationship to
this hand in front
of you, in relationship
to it now?
It's a of pressure.
I don't know where.
Does that hand in any
way feel connected to you?
This one, this
hands that you're staying connected to,
you're not really connected
to you?
To my body,
the one I'm staring at.
Or my actual hand,
because it is very confusing
terrain.
Yeah, this so far,
I really feel my actual hand
still there. Yeah, I'm still in my actual
hand.
It feels like you're much higher on my
hand than when I'm seeing, like,
everything is slightly off.
Yeah.
It is a very strangely shaped and
Steini, a kind of orange
little masculine to these
very masculine.
It's a Trump hands here.
So
can you feel the hand of Trump?
I don't want to view the Trump
nothings.
My hands are here.
OK.
Oh, it's warm now.
Yeah.
Any sense of this little
hand in front of you is being connected
to me? Yeah, no.
Well, I got to leave it there.
And I think we all found out something
very important
about how maybe getting in the
zone is really important to how
these things work of.
Like, it's funny, I could
do it with a kitchen glove and
that kitchen glove is part of my body,
that people are very different and
I think we all need different kind of
levels of suspension, of disbelief.
I've done it, too.
In the lab.
I did this process, which involves
having the upper hand to be for
an hour and continually
talking about all the feelings that I was
having. And I notice that
it's often described as an experiment
where your body model switches
over just like a little switch and
you're like, whoa, this is my hand here.
It's not like that at all,
as we just seen.
But it sometimes can work and it
sometimes can create really bizarre
experiences of having like two
hands, which has split in the
middle. Sometimes you feel like there's
a tunnel from this
bit of the hand to your other
hand over there.
And I just was so
fascinated when
I started doing that because
I'd always had this sense
that the body itself
was in some some
way really shifting and malleable and
our experience of the world could be
transformed.
I had this very
effective and dramatic near-death
experience when I was 18 of falling
in the jungle.
And as I'd fallen, I had
this whole bird's eye view of where
I was in space.
So I knew that the mechanisms of the body
existed to give us these extraordinary
sensory experiences
and wanted to build those
like properly into.
The projects that I was making
and also noticed how people
were feeling them back, so,
you know, it was a long process.
If people weren't feeling it, then he had
to tweak it, tweak it, tweak it until
it was working. And it never would work
for everyone because some people were so
absolutely intent on
sticking with their sense of like prior
knowledge about where their hand was.
So I want to quickly
show you how I
turned that into
a project extending on the
rubber hand illusion.
We have all these body swapping illusions
that have been now developed for
about a decade.
It is possible.
It does work of.
Have a look at this video
of.
This piece called Noplace.
No place is a site specific tour
of Modernist Residential Block Embassy
Court, the first performance
run from midday to midnight during the
White Knight Festival, Vitan and Hope
it is a digital performance that makes
his live acting with film as seen through
video goggles.
Visitors to no place are met by
an estate agent on Brighton seafront
and are led into the building.
Inside, they are asked to put on video
goggles, equipment used at the Sackler
Center for Consciousness Science to
scientifically investigate presence
and embodiment.
You just like to look around to the left.
Ran to the right.
OK, I'm going to take your hand.
If you could just look down, look
at your palm.
Can I just say yes, if you can see
the mark at the center?
Yes.
Now, I'm just going to do a quick test
sensitivity here,
here,
here.
And here.
Fantastic.
I think we're ready to go if you'd just
like to follow me this way.
So as the audience member
before you were led around this body,
this building, as if they were on
a viewing of their kind of future ideal
home, the experience
of the building itself started to change,
had ridges on the floor.
I'd asked them to feel these haptic
props as a
place to be real into a visceral
started to include a lot of
animation.
Is there experience in the building?
So this could say they had their head
up against the window, the light that
they would see something completely
submerged beyond the window into.
And at the end of the experience, I
spoke to the left
and the left
stroked them with feathers, and
they had the sensation of
feathers going out of their head, which
are kind of imagined they would
go with kind of like the experience
we just had here, because
I thought it was too too much too
fantastical.
But we might be that the fact
that the project rolled through the night
and people gradually arrived drunkard
drugger, or the fact that people actually
genuinely wants to
have an experience of being something
else and to fly.
So as they went up in the
lift shaft, they started sticking
out their hands and like really
embodying that sense of flying
over the building. And through the video,
they had this bird's eye view
of what it might look like
to fly out to see.
And then at the end of the experiment,
they were led out onto the
rooftop to have
a cocktail in this place.
They'd seen within the the
video experience, they were kind
of abandoned alone
in the night with a cocktail in a very
a very different kind of
winter dark
balcony scene just to sort of
make some sense of what an earth
had just been through.
And I think that what I'm really
interested in is not
necessarily drawing conclusions
from the way that our body
can shift around, but really to explore
and to push it and
imagine into it so that we
can find
out things about metamorphosis.
So, you know, if
you can start to feel
feathers or a river running
down your own hand as.
Part of yourself as part of the
world, that line between where your own
body and the environment
is very malleable and
certainly in England we have had
a very difficult year about
misconstruing
insularity as
this whole movement of tried
to align all the art projects I
do to try and connect people with that
relational aspect of what
being a human is.
And I think
as VR culture is emerging, there's a lot
of great fantasy experiences
that are being based.
There's lots of visceral performances
where you could sort of go to a warehouse
and plunge your hand down a loo
and have a really dramatic
experience, which involves touch.
But I am
more interested in really diving
into the subtlety of said, see,
I've spent the last four years doing
these open workshops, using
movements and contact
experiments and improvization
drawing on the research
that has kind of been amassed
in the biological sciences.
And what we know about physiology
to to try to really go into
the the more fine
grained experiences
of this has just evolved
virtual reality.
It's evolved using whatever
technologies are at hand.
I've made peace with
heart sensor
and a two way mirror which
alters the light on either side
of the mirror so that
you started to see someone through
the mirror who was not you.
And yet it kept on fading back into your
reflection.
There's something very weird about that
experience where a third person
starts to emerge, which is a combination
of two people, and that felt really meaty
and a very
good way to explore actually
how the mirror neurons in our systems
are always reacting to the faces that
we see in front of us are just
to show you a little bit of that
delegates but slots to explore
the installation individually.
Each participant wore fingertip pulse
oximeter and their pulse dynamically
influences the behavior of various
props, lights and sound effects.
Look at your cheek.
Reach out and touch your cheek.
The sound is
not see how slowly you can move your hand
without some.
Send it right down
to.
There's that face in the.
To recognize it, not
quite.
The movement is now your guide,
follow it, follow
your reflection.
Let it lead you.
Follow it as accurately as possible.
Impulse to use these techniques of
visuals and touch to explore an
interpersonal said.
Yeah, so I spent a lot of time
dancing with virtual reality.
And funnily enough, when virtual reality
technology came out, I was sort of
moving away from the science lab because
science is very good at telling you about
the mechanisms of prediction it
needs to make generalized.
It needs to draw generalized conclusions
about how we experience the world.
But what started to emerge and emerge was
this interest in the unique
creative experience of each
audience member, which was something
that I kept on noticing as people
came to these events.
And science has some way to go
before really being able to say
anything much about
the creative instinct.
And I wanted to look at some
different ways of knowing the world and
spend some time in New
Zealand with the Barre community.
I have a teacher in
Hawaii who taught me to do
this technique of indigenous dreiberg
where you record
the dreams that people are having and
draw them.
But each day you
sort of go deeper and deeper into the
unconscious of that process.
I spent some time in South Africa
with the Bushmen of the Kalahari that
adds this started to shift
by sense of how we
were in the world and.
Give me a
feeling of big in the world,
which I hadn't had before, which was
a way of actually feeling at home
in connection with the environment
around me, and that's
what I always was going to explore
through these pieces.
I started to explore what happens
if you had the
civil society of touch and sound
and color.
And basically
kind of creating a poetic experience
of synesthesia.
So.
I'm going to move through the
research because we don't have time for
it, but when virtual
reality really, truly came, I realized
that it has this wonderful capacity
of being able to look at
the individual unique sensory experience
of one person at the same time,
or as being able to facilitate
a macro view.
So through virtual reality, you might
be able to sense
large scale data about the world.
But you're also having a very intense,
immersive personal
experience.
And that sort of seemed
to draw these
these parallels to
what had happened to astronauts
who had gone out into space and looked
back to the Earth and.
By first proper V.R.
piece is called Of The Sphere's.
And it's about the Voyager probe that we
sent out in 1977.
And communicates what we could
about human experience at that time,
mostly through sound.
It's the golden record is dedicated
to music makers of all worlds
all times
and.
I'll show you the open at
that.
These are all images that are on the
golden record itself that we've
sent out to space and that went through
the heliosphere in
2013
and is now the first manmade object
in interstellar space seeking
only and friendship.
To teach if we are called upon.
I think it's so interesting that
we done that as far
as humanity, but we've
basically sends
a message out to the alien
other ads.
I was wondering about what would happen
if we heard back from that ad
fellow. That might be a good thing to
think about at this point on Earth when
we are living through such a
period of.
Of chaos and of
of structural change that hasn't quite
happened yet.
And I wanted to take people
in a really immersive way to just
inhabiting, imagining what a wise
living kind of uba
evolve technological
alien species might be, how
they might communicate to
such a being, what that
what that communication might be, what
might be worth saying, what might be
worth asking, made a piece
for in a burst of full XOMA
and also is a virtual reality
experience for outside,
because I'd be doing all these
virtual reality experience indoors
and they'd be making people cry because
they were about nature.
And there was this weird sensation
of exploring nature
through virtual reality in an indoors
room, in a gallery without any windows
being like air.
A melancholy thing like
virtual reality was the only place we
were going to come to meet the natural
world in the future.
This was sort of entirely not what I
wanted to get across.
So I started doing these pieces more
like rituals outside on
the beach.
There was one that I made for the
eclipse, which we had in England
in 2014, which has this
of, you know, there's a natural
event that's happening up there that we
actually can't look at with
with our with our
eyes without going blind.
So you have to have some sort of viewing
technology.
So it seemed like a really good thing to
use Viarsa to
explore. So people see
actually what happens when
the alignments
of the sun and the moon and the earth
happen in a virtual reality experience.
And then that experience opens up into
a webcam and they can look at the sky.
And that whole sense of mixing
up VR and
the outside world is
like what's really resonated.
I've been doing these workshops with kids
in Scotland. I can't actually show you
any images of them because I don't
have the rights to show you their images.
But they are so excited about
this technology that leading workshops
around them, performing
their own stories on the top of these
mounds, which if you went up to
14 year old 50 year old Scottish
kids and said, I want you to go up onto
this mound and improvise
a performance, I feel they would
without the without
the encouragement of virtual reality,
these weird little 360 cameras,
I think they would be very
difficult to encourage to do that.
But strangely, the 360
cameras seem to be like this facilitation
for them to unleash their imagination
because they don't even notice that
they're creating performances.
So we'd be making these
experiences for the multiverse
in Scotland.
The multiverse itself is this
huge art park that is
shaped to it's kind of styled as
a new Stonehenge and it's shaped
to contemporary
understandings of
the universe.
So it has its got I
think I have a little.
You can see it in 360,
it has.
All the.
All the landscape is is built to.
Information we have, there's some mapping
of superclusters somewhere, I don't think
you can see it from here, these
mounds one, this this mound
is built around
data from Andromeda.
This one represents the Milky Way.
It's a really extraordinary place.
Oh, God, Bullock's
sorry.
The right to the right to the
right.
Hello?
Oh, no, no, it's fucked.
This is excellent.
OK, here we go.
There you go.
OK.
And this project has involved making
360 vistas
of all sorts of different places
in the world. This is the limited
community in Vanuatu,
in the Pacific, one of the islands that
is really threatened by climate change.
And
and they they know that
it is likely that the island will
go below the waves at some point.
So I guess I'm trying to
bring it through these
the the capability of virtual reality
to see beyond our own spheres
their sense of all the different
experiences that are currently happening
in the world right now.
And what a
what a vital
time is to sort of wake up
and pay attention to that.
So the limited community
and the way that they the
way that they formed that music, which
they make with their hands by slapping
water, you know, that's something which
comes from that particular island itself.
It's a cultural form.
And when that island is gone,
you know, where does that language
of expression live?
This is these are really
big questions.
The modern would say there is no truth.
There was a time on this planet when fish
threw themselves out of the water and
legs, all
this and other miracles
on Earth.
Welcome home.
Yeah, so I'm working with virtual
reality to last, and
it's been about six years to
make these avatars which move with
your body ads are transformed
with touch.
So I've always they're touching the
participants.
And I guess opening up to
what the fact that we might
be aliens to explore the
senses that we have in
new ways and I
guess shift from thinking about
the alien and the unknown as something
that is, ah, that's
finished. That's dead.
There's sort of
these narratives that I hear
around inevitable extinction
sort of seem to be like a failure of
imagination.
It's funny because when we
imagine the alien, like our big stories,
often involve the alien already being
dead. So we can in some way expect what
it is first before we have to deal with
it.
But are they all this creative
media that we have, I think could be
encouraging the creative
function, which is
so embedded in our physiology, as
well as this predictive function
to arise and come out
in in a
genuinely new ways.
So this is a long running
project I have about receiving
information from the stars and
being open to alien contact,
but also to receiving
the information we have from other places
on Earth, which we might not be
necessarily considering.
And that
has always led me to
knowing what we've constructed
here on Earth as
a constructed reality
that can be played with,
that can be created into that
might be as malleable and flexible
and transformable as
the feeling of our body in space,
that is.
Something that I guess
activist communities
are really trying
to
to really see through,
I feel great about a sadness around this
this year. It's been a difficult year,
but. But what are the things that I've
done is just hit the streets and got to
talking to people and asking them about
their reality and what they hope for and
what they dream about.
I've done these projects which
have been unfortunately
sabotaged.
So I made
a project which was to vocalize
the word on the street, which
the public reacted, or one part of the
public reacted by utterly destroying
it, which I feel like is the theme
of this particular year is
over.
There's this this is kind
of coming through of creative
perseverance.
But that project, in
fact, Liverpool started by drawing
a sigil outside the building
and budget and thinking
about magic seems a very long, long way
from my time in the neuroscience
lab. But strangely,
they are not so they are not so
distant.
One of the things about drawing a sigil
where you're meant to combine an
intention and use the first
letters of each of the words and what
it is that you would like to invoke into
the world, you have to combine
as like one shape so all the letters fit
into each other and then
you draw it.
I drew it in light outside
Liverpool and then you have to
immediately forget that you've done it,
which is one of the
ways that helps it work.
So weirdly,
that is something that I kind of want
to seed out there, that even
the the darkest times, even
when all of your
your hopes are sort of beating
a very fierce challenge
in opposition to kind
of stick with their sense of creative
renewal. And
I want to add by thinking about
Alan Moore, who is
the master magician
who's influenced by life
kind of entirely, I think what are the
first memories I have is of being severed
and opening the watchmen.
This is a scene from The Watchmen, which
which imagines a
virtual reality so that a
virtual reality, an alien,
an alien invasion of New York,
he manages to.
Explore that weird
space between the imagination
and reality in the most
interesting of ways, I found
this obvious that the mask is bought
even in countries where Guy Fawkes is not
such a well-known figure
and.
He writes to
Chelsea Manning,
something which kind of
moved me.
Each man and woman is positioned
at the center of a cosmos that is theirs
alone and the individual
as its pivots and its governing
intelligence.
Our inner world is in this sense,
the only world that we can ever know or
live in. But our inner world is endless
and immeasurable and is also the
mysterious fountain from which
most of the apparent outer world around
us has emerged.
The territory inside is the most
potent and astounding human territory
of all and is accessible by anyone,
regardless of their tangible material
circumstances.
As the great American philosopher and
entertainer Robert Anton Wilson once had
his fictional character, John Dillinger
Vermaak, the only way to
escape from a locked cell is
to walk out through the wall into the
fire.
And my God, how do we do that?
How does Chelsea Manning do that?
Last December,
I was in Paris doing
activism on the streets, having
lost all my work from the last few
years, most of my money,
and had this enduring sense that
nevertheless, I wanted to turn
up and do creative
activism during
this decision that was being made about
their climate at
the the agreements that was
being carved out in Paris.
And I told a story not through virtual
reality, but just
through storytelling, imagining
the climate crisis itself
as a very old story
that we all knew
a lot about this
idea that the kingdom has been
laid to waste and the meadows fade, the
flowers die, the animals disappear when
the waters dwindle, that sense of
the world being out of joint or out of
health is in
all the great stories.
And really inviting
people to see the world that they live in
as a participation
in this very, very old story
of renewal.
I went around invoking
doors, I drew doors on
the walls, I made
projection portals in windows
and ones that opened
up when you walked over them
on the pavements as
this real attempt to imagine
doors.
Where we can only see walls.
And I planted a lot of seeds, seeds
printed like labyrinths, and I
sent a lot of messages out to into
the city.
And though it was a tiring
and huge
experience, there's no real way
of knowing what anyone's actually how
that affected the climate agreement or
in fact, what that climate agreement,
you know, what bearing that climate
agreement might have on the world's.
Now, that's the axis
of power has shifted so strangely
in America.
But all through that meeting
and all through the many, many
creative activists and policy makers
who are gathered there.
There was this question, what is
power?
And I think that's a really important
question to ask
of ourselves, of a creative
power over the way we perceive
our reality and our
creative agency in the world, as
it was being asked by
the indigenous rights activists
who hacked
the experience of Paris
by having a huge
demonstration for the sacred
waters in front of the Notre Dame.
It was asked by Olafur Eliasson
and Mitnik Rowson,
who put melting
ice from the Arctic
in public spaces that slowly
stripped away.
It was asked by all those who
gathered to hold up the red lines
in a action
which could buy thousands and thousands
of people organized by 350
to.
Which was plans for India's
big censors in Paris and
in those censors, you found interesting
projects like Poque 21,
which was all about eco hacking the
future and setting up
prototypes as a way
of partaking in this
question of what do we do now
and what has power.
So they had things like a shower loop,
that recycled water in itself,
which is a really simple idea, but.
By prototyping it, you bring it into the
world.
There was the climate games, which is an
open invitation to all activists and all
Gabes lovers to come to Paris and
creates on their own terms
something for the environment
itself.
So a lot of people gathered
in one place with all sorts of different
ideas about what's sort
of really taking
hold of
the climate message might be
there up with a great group called Edge
Riders there who actually
have an alternative
space, which is just in the hotel
next door, where the kind of workshopping
ideas about what do we do now,
how do we form creative networks
that can support each other?
How can we actually, like, mobilize
all the different ideas that are
of being born, have been worked out
over the decades for shifting
how we do democracy and how we do money.
And doing that together,
I came to the club
to this Congress last year
adds.
We had a debate out in the corridors
really trying to brainstorm,
you know, what the fuck we do now
for the climate of
what are the great things
that came out of that was an essay.
But just this.
There's LIG to this wonderful essay which
really unpacks what technologists
can do for the climate.
But I guess by.
Expression about that is that
if we are really to understand what
structural change takes,
maybe we need to look at the
the transformative change
that is needed in our own bodies and our
own perception to stop thinking
about virtual reality and immersive
media ads.
This gift we have of
getting people into communication and
collaboration through the digital or
through the Internet as something that is
used for editable and fantasy alone,
but that there is a latent power
within that, that
if we are going to
in some way meet,
we need to know how to work together
and.
If we could work together, well,
we need the self-knowledge of knowing our
own systems, how we take in information,
how we react to other people, and
how we can kind of combine
our talents and our perspectives
and our skills in
the world in a way
that.
Has power.
So the venue for the alternative
three three three is literally
next door at the Radisson Blu, and
I ask you all to give
your your questions
to be on this completely
unexpected turn.
I thought I was going to be talking about
different sides, and yet I
cannot think of
how to stand up at this moment in time
without.
Really asking, what do we do now?
And what the idea is to think Planetree
and try to make that a reality,
we could actually hold.
Thank you, Kate, for sharing
your openness, your feeling you're seeing
it looking, we have five minutes here.
We can take some questions from the
audience.
I start with one first.
I didn't know I was waiting for the rest.
So if people want to move now and
not, it's your time.
Kate, you mentioned me.
Something that you're publishing a book.
There is a book coming out.
I think I've lost my bike.
There's a book coming out in December
about about my work with
your scientists.
Adds Perception.
It's it's a collection of essays by lots
of different media artists, a collection
of essays from familiar writers
of you.
What is the title not known yet?
I think it's called Intersecting Arts,
Intersecting Arts
and will be published probably
via your website.
But I will put something up there.
Yeah, okay.
If people are interested to follow her
in our journey, there
is one way. A questionnaire, I suppose.
Could you ask my question?
An indecent proposal here.
Is that the right time and place?
Guys, I have a questionnaire.
Please take the microphone over there.
You can do it now, Kate.
Yep. I find question there from
that.
OK, there's a great presentation
in the bringing up the idea.
So I have a question actually about we're
talking about climate change and actually
we are endangered.
That will will
be extinct. Species like that
is is as I can interpret the message
is that climate change
is actually we are having
the climate change. We are afraid that we
will be extinct.
Actually, the human race will go
with the climate change or at least we
will lose the nature.
And now the message is that we
have to save the planet,
the nature. Right.
That's the idea behind
activism, around the climate change
and stuff.
And that is
the situation and
that we're depleting all the Earth's
resources. But there were very many
problems for intense poverty.
And lack of education is
simply just something about
how we use energy.
Yeah, yeah. I got that one.
I meant but if let's say
we want losers because as George
Carlin put it, the earth existed way
before us and it still exist even if we
if we are gone.
But maybe that's the normal
way that things would go.
Probably I never thought about
after I hear this, you know, but
I did. I love life
as I love to Christmas.
We all do it and I love to evolve.
And, you know, when I teach my daughter
a math problem, if she says
to me, I cannot do this, it is
impossible. It's impossible.
And the it cannot be solved,
then she doesn't get very far with that
math problem.
But if she keeps that space
of possibility open where,
you know, she does know how she's going
to solve it, but she keeps on trying,
then she she finds that capacity
in herself.
And there's that is the creative process
that's like a courage and
a lightness of heart.
And, you know, the place
where big too aware
of how everything could
go so wrong, although we need to feel
that fear. We need to know that the world
is burning.
It has always been burning in some
sense. But to rise
up to what the
creative Bobert could be, I think
that's what I've tried to invite people
into, which is,
yeah, extinction might be
a reality at that is
a hard thought, especially,
I don't know, especially for parents, for
I. I certainly feel that
link to all these generations that are
Cobourg further down the line of.
So yet maybe the Earth will find
its balance again.
But if we could try
to be hatswell and evolve
with it and live with it at parties,
participate, then, you know, OK,
I have one question in adventure
internet.
Is it okay? Can I
I have I take a look at this little
angel. What is the question there?
Excuse me, we can't hear you here,
take your microphone otherwise, OK,
there was another one who had the
question there. Can I take your question,
sir?
OK.
You have a question.
OK, we cut.
I'm sorry, excuse us.
Thank you very much. Because we don't
have any time. We have to rush for the
next presentation.
Thank you, Kate. Once again.
And there are people with serious
questions here.
Please give a warm applause
again, Kate.