EXPERIMENTAL BIO-DYSTOPIA

1.

Let’s go straight into your true sexual organ—the brain—with tiny waves, gold nano wires and synthetic viruses, for fully-automated satisfaction. That’s abstract neurofucking, artificial fractal orgone feed-forwarding the full madness of anonymous love.

Disregard conventional sensory stimulation. Forget skin, genitals, gestures, body shapes. Exclude any link to reproductive functions—this is the real thing, pure fuckable noumena completely devoid of sensory-organ mediatization.

There’s nothing virtual in our system; it actually allows you to factor out any given ‘virtuality’—every bit of representational sensory information. In our app, you could select whatever interaction level you might want: from chatting and exchanging pictures or videos, to sharing no data with potential stimulators. You could set it to random mode, and receive stimulation proposals from any anonymous source—human status cannot be granted—in the network. Of course, every process could be interrupted at any moment. The access to the hive-pleasure areas of your wi-fied brain will be always protected by a secure encryption, so you will decide if you wish to exchange your access data or to block any undesired interaction. You will be able to accept or reject stimulation at your will. Hacking will be considered as rape.

 

This is just an example.

 

2.

Reasonant bio-social architectonics are produced by desire-processing, statistically-driven computation. Orderly-utopian and orderly-dystopian future-presents become fused in a mash-up of consumption dialectics where a future that was once dark and hopeless is now dark and beautiful when one dives headlong into it*. Late capitalism is inflationary—it’s a computer that processes desire*—, so let’s forget about desire, and instead address pleasure as an unmediated and networked commodity. Techno-utopia is only conceivable if assuming that any given computational process is actually the consequence of a conscious a priori programming that further processes and optimizes some naturally transcendental bio-propensities (understanding bios as a mere taxonomy of forms and functions acting as a set of morphogenetic constraints and developing into proper pleasure architectonics). Techno-utopia is only understandable if the u-topos is pre-featured as a foundational part of the human biological essence—instead of, for instance, thinking about randomized desire-production/pleasure-induction as a blind spontaneous process within the capitalist machine.

Computing as the automatic production of random ananthropic processes that could be—or not—exapted by humans or non-humans, calls for a different perspective than thinking about it as techno-matchmaking between human desires and products to fulfill those desires—the classical economicist/informational way. While conventional, informative utopia/dystopia becomes the environment for desire fulfillment whithin a framework of foreseeable continuity (bios understood as a will to replicate, or to increase information and complexity across linear time), the fictional space of experimental dystopia offers an un-formational environment for exaptation, where unthinkable, ilegitimate, or perverse desires could be co-opted and re-purposed.

Speculative non-biology explores the anarchitecture of matter swirling in disorder and chaos, reversibly moving from non-life to life and vice-versa. Bios as a process without beginning, end, or purpose—crash life—which might reflect matter on its way to exploring possibilities of existence in de-organized time-patches—when orderly morphogenesis would be provisionally pirated by the chaosmos as a temporary tool to move directionless across planes of consistency (or quantum fields). There would be nothing properly alive, no properly human thing. Bio-based socio-political categories would not be understood as biological constraints, biological rights, or even biological targets/expectations anymore —no matter their frequency of occurrence in a population—, but considered as manipulable performing data: the contingent results of xeno/crypto/nano-technological appropriation.

 

3.

At the end of Alex Garland’s movie Annihilation, Natalie Portman’s character is asked why The Shimmer—a mysterious alien energy field—is destroying everything. It’s not destroying, she answers. It’s making something new. This is not another metaphor of creative destruction, but playing with the idea that a different end of the world is possible: Ugliness becomes thrilling and alienation becomes adventure*.

Why should the laws of nature care about what I find beautiful? asks theoretical physicist Sabine Hossenfelder.**

Indeed, we need look for horror physics.

 

GERMÁN SIERRA

——-

* Robert Mariani, A Different Grim Future. Jacobite, June 2, 2018.

** Anil Ananthaswamy, How the belief in beauty has triggered a crisis in physics. Nature 558, 186-187, 2018.

 

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