TABOO - TRANSGRESSION - TRANSCENDENCE

In the project, I provided an artistic vision of how is possible to see a speculative art model of pattern and interface of human and more than human communication. The model was inspired by rhizome and fluid principle of water body figuration agency. The fluidity is recognized in the relation to the theory of Objectile (Deleuze,1993). The approach relates to the idea of neuromorphic dynamic computing and leads to speculative artistic approaches of water-based interspecies communication.
The project outcomes from the two notions: Maturana and Varela`s ‘Structural coupling’ and its reflection in the patterned cognition and communication of autopoietic systems; and the posthuman comment to the information filtering by discriminatory practices of pattern.
The idea of ‘Structural coupling’ was taken as the background of the research. But rather than autopoiesis or self-making, the idea was related to Donna Haraway's notion of ‘sympoiesis and making-with’ (Haraway, 2016), as a space where articulatory practices are taking the provisional, never-finished shape (Haraway, 2004). The idea of infinitive changes was supported by Katharine N. Hayles notion of manifestation of embodied information, where ‘pattern exists in dynamic tension with the random intrusions of noise’ (Hayles, 1999) Also Philippe Bootz reflected the ‘Transient state’ of digital aesthetical form by the procedural model of communication (Bootz, 2006) According to my research (2021), the dynamic state which is organized by Transient pattern has a differentiating result of perpetual interaction entanglement, diffraction, of communicative units agency. It is based on the concept of Karen Barad`s Agential realism - agential cuts. Then in differentiation is appearing meaning, also any act of observation (sensual and intuitive) is differencing agency and makes a "cut" between what is included and excluded. The communication is perpetually evolving in these multiple interactions of communicative agencies and interface ability to transfer it. The pattern selection is working by the principle of ‘difference and repetition’ and doesn`t have discriminatory selective character. The intuition and the feeling, both play a crucial role to understanding message, which was put into the equal common interface of interspecies communication.
Water, as a medium of biochemical and biophysical interactions and inevitable part of living bodies, can be both, a formal approach - “Transient pattern” and water-based hybrid interface of communication. Also, Astrida Neimanis emphasized that figurations of water "bodies of water" can allow us to respond to other nonhuman bodies in our shared planetary existence (Neimanis, 2017). Then the understanding appears in the differential intersection of agency of each communicative ‘body of water’ and through a repetition will come to the emotional figuration of ‘hydro language’ which appears in the production of signs of speculative approach of Art Sci work. The essence of artwork relates to the water essence and is built by the communicative and emotionally understandable figuration of water body artwork. Through the communication artwork is emotionally indrawn the message: ‘We, as bodies of water, can emotionally understand our common human and more than human water-based life and interact with the other water bodies.