This work is an installation environment that offers a communication field for the visitor to the exhibition. The installation listens, records and reproduces the auditory traces of those present in space. One of the sculptures included in the work, imitating a dream catcher, becomes a kind of “catcher of sounds”, allowing you to read the “place” through a stretch of glass screens.
The installation reveals the relationship between the military and the civilian in terms of concepts such as pseudomorphism and plasticity. Pseudomorphism is a geological term for changing the original structure without changing its shape. Plasticity is a neuroscience concept, the ability of the brain to radically change with the subsequent preservation of a new structure. The artist uses these concepts to show how strategies of civilian resistance are changing the ways of surveillance and power control. The arms race between the military complex and guerrilla resistance resembles the processes of pseudomorphism and plasticity. They allow the political and the social to fit into the materiality of geology and brain structures.
The title of the work stands for “Low Intensity Conflicts” – LIC, containing “to a degree” plastic (explosive) substances. Exponentiation becomes the principle of redistribution of meanings within the installation, and the presence of texts and “flowcharts” included in the architecture of the work illustrates the method of detecting and fixing a possible “threat”.