The sound was drone in her eyes
all my warnings emanating from the darkness of day
I’m sitting inside of breath of each word
I’m going to see the fencings are crying.
An autonomous weapon cosmologies of luminance
manifold regimes of oppression.
Peaceful protesters are being hunted by the authorities after the fact with the help of artificial intelligence. The technology is haunted by the ghosts of autonomous weaponry, and shadows of the ones who operate it. The media becomes a weapon, inflicting the new type of wounds on ones who witness the hybrid war unfolding in the digital realm. It becomes apparent how these new wounds, described by Catherine Malabou, are now used by the informational autocracies, as the means of political repressions.
Cyborgian assemblages in the age of global push-button warfare.
the realm of maybe enemy
Do you remember me little one
But hope dies out in silence.
This type of dystopia is described in Harlan Ellison’s 1967 science fiction short story I Have No Mouth, and I Must Scream, which is set on Earth after the Third World War, a conflict delegated to super computers. Having developed independent intelligence, they have merged into a single entity and exterminated all of humanity other than five individuals who are kept as guinea pigs, their minds and bodies controlled. Savchenkov sees in today’s technological and social developments the possibility of such a scenario.
Kirill Savchenkov explores the study of such injuries, modeling a situation in which a conflict is controlled by artificial intelligence, an autonomous system that runs out of control. The story of this accident is presented as a poetic polylogue of participants and witnesses: shadow of autonomous metal system, the ghost of its operator and the voice of person that has blown themselves up.
A forecast is not an explanation.
This artwork was created with the support of Garage Museum of Contemporary Art, Moscow, for the exhibition Assuming Distance: Speculations, Fakes, and Predictions in the Age of the Coronacene.