There’s Still A Visionary Edge at the Intersection of Art and Technology: CODAME

by Rachel Haywire

Since the early 90’s, publications such as Mondo 2000 have brought a subversive and countercultural relevance to the consistently evolving (yet not always radical) tech industry. Focusing on a passionate new world in which VR, AI, music, visual art, audio experimentation, and live performances combine; mutants/freaks/pioneers in this provocative space between art and technology have carried on the torch to create their own festivals, projects, and temporary autonomous zones.

From tech salons like the BIL Conference and the Extreme Futurist Festival, to electronic music events and communities such as GOGBOT and LoveTech, a new history is being written for makers and innovators who see outside the corporate world of tech. In the accelerating 2000’s, this evolving demographic is leading the charge through an intoxicating fusion of art, science, creativity, AI-generated music, experimental live performances, crypto-communities, biohacking, digital philosophy, fashion technology, and more.

On the front lines of this cultural movement is a collaborative organization in San Francisco called CODAME whose participants are gearing up to throw an ART+TECH Festival in early June of 2018. This ART+TECH event features gallery installations, screenings, and performances @ The Midway from June 4-7, 2018. Their theme this year is #ARTOBOTS, which zooms in on how automatons orchestrate so much of our lives through both our bodies and minds.

From the CODAME website:

“In the daily movements we make, the messages we send, and the sensations we experience, we already collaborate with [bots] in increasingly varied, tactile and tangible ways. Bots mediate our relationships with ourselves, each other and our environments. While many of these interactions are familiar to us, there are a myriad of ways to move, think, sense and feel with our lively machines.”

Events like CODAME are examples of the future going in a new radical direction envisioned by the early adapters of Mondo 2000. Dorkbot and RE/Search Publications also come to mind, as early Bay Area organizations that continue to influence this countercultural space today. Who says that the tech world must be full of boring and soulless robots who aren’t even literally robots? Who says that science can’t be a visionary world of spontaneous emergence and creative expression?

Technology must not lose its visionary edge. If we feel outnumbered, we can work to convert new markets into a more exciting world. We can show the public that technology is about conscious evolution and radical self expression as much as numbers and spreadsheets. We can paint the landscape with #ARTOBOTS and more, providing an electrifying future for our generation to participate in. Through these festivals and communities, our entire species can be radically transformed.

The Annual ARTS + TECH takes place June 4 – June 7 at The Midway in San Francisco

 

Mutant/Mutation/Transmutation/The Total Fucking Transmutation of Everything

Excerpt from the unpublished Mondo History Project by R.U. Sirius… partly from preface party from “Chapter 3”

 

Accept for the moment — if just as a literary conceit — that I was entrusted by certain unknowable cosmic extradimensional forces with bringing about what I — in my heyday — called “the total fucking transmutation of everything.” Accept that, a few days after taking a 600 microgram liquid LSD trip, this daft absurd little American whiteboy felt himself to be as one of those windup toys dropped into the play set of the late 20th century human dramedy with a fantastic cosmic mission to transform the human species. An agent of destiny.

This world — the very one we currently occupy — would be led off into n-dimensional hyperspace; or brought via drugs and technology into a novel mutation of being human several degrees up the evolutionary ladder. I would erect my holy grail and plunge forth. All boundaries, borders and banalities clenched by civilization’s tight asshole would be expulsed leaving behind only the alchemical transference of shit into philosopher’s gold and the energies of abundance.

This transmutation was not to lead to the innocent empty eyed bliss ninny paradise of new age gurunoiacs. It would be a postpunk neoyippie trickster utopia — utopia with booby traps to keep everyone on their toes; utopia with a cacophonic bite; with more than a hint of Burroughsian or Sadean perversity, and with just enough science factional ambition to launch a posthuman species into the cosmos.

Of course, smart smug reader, this is all bullshit. I know it too. I knew it even then, except when I didn’t know it… which was just often enough to propel me forth to make this strange thing that was MONDO happen…

Mutant/Mutation/Transmutation/The Total Fucking Transmutation of Everything

In biology, a positive or beneficial mutation increases the fitness of the organism and promotes desirable traits.      

As cultural signifiers, the words mutant and mutation have been in circulation amongst countercultural and subcultural types at least since the mid-1960s when the organizers of the first hippie Be-In declared the hippies “a new generation of mutants.” Around the same time, Timothy Leary started describing the rebellious youths of the ’’60s generation” as post-Hiroshima mutants. Since then, these words have continued to pop up amongst the various flavors of alternativeness. Many Science Fiction fans, for example, see themselves as mutants who are different from — and smarter than — the “normals.”

The main conceit, largely framed by media philosopher Marshall McLuhan, was that the new communications media — particularly TV — in combination with mind-active drugs, was causing the era’s youths to privilege mental and emotionally abilities that were entirely distinct from those privileged by the previous several hundred years of print, alcohol and caffeine-oriented Western Civilization, thus making them a sort of new species living in a linked-up, innately trippy “global village.”

Regarding transmutation, prior to Darwin, evolutionary theorists used the word to describe the transition from one species to the next. The term had been passed down from alchemy and thus also had — and continues to have — a resonance among occultists and other mystics.

The Total Fucking Transmutation of Everything, as conceived by your main narrator R.U. Sirius, represented the idea of a radical transformation in the human condition, both fundamental and surreal.

In fundamental terms, I imagined a humanity that had transcended poverty, unhappy labor, ill-considered taboos, national boundaries, rigid ideologies, racism, sexual repression, absolute gender categorization and identification, and biological and neurological limits on what a human being can do or experience.

At the more surreal level, I was inviting conditions and experiences that defied all possible expectations based on familiarity with how the world is supposed to function, but that might relate to psychedelic philosopher Terence McKenna’s notion that during the 21st Century, we will enter into a place where “whatever we can imagine will simply come to be;” or singularitarian Vernor Vinge’s idea that we will take inside of us AIs with intelligences that will be to us as our intelligence is to the ant and that the future beyond that Singularity is beyond comprehension .  

Or in a less explanatory but more lyrical modality, I once wrote and sang:

I inverted the very color of being

But you weren’t there

Yeah the big ball turned right over

It needs no justification

I wanted to be Salvador Dali

I wanted to be dead and unreasonable

Let’s grieve in concentric circles

To make the night release your brain

In other words, rationality aside, my biggest motivation for invoking the Total Fucking Transmutation Of Everything was probably a fuck-all boredom and impatience with reality.

The Ironic Lawn Jockey is NOT ok

(Formerly White Whine 2)

(formerly A Crash Course For The Ravers)

Lyrical cycle by R.U. Sirius with a few actual songs attached

Imagine 2.0

Imagine there’s a song everybody sings and no one means
Imagine they sing it in Times Square every New Years Eve

 

Read more “The Ironic Lawn Jockey is NOT ok”

From “Freaks In The Machine: MONDO 2000 in 20th Century Tech Culture”

From the MONDO 2000 history book/memoir Freaks In The Machine: MONDO 2000 in 20th Century Tech Culture, yes, still in progress

by R.U. Sirius

Definition Of Vital Terms & Concepts (As Used In The Book)

DMT

The extremely powerful psychedelic drug DMT – Dimethyltryptamine — was a big part of the MONDO weltanschauung, subject to quite a bit of use and even more discussion. DMT is smoked and its effects last about 5-10 minutes. It is arguably the most powerful psychedelic experience, although that is not to be confused with deleriants. Deleriants such as Belladonna (Scopolamine) can take you even further from ordinary reality but the experience generally can’t be remembered and offers no insights or alterations to the imbiber. Read more “From “Freaks In The Machine: MONDO 2000 in 20th Century Tech Culture””