fantastic confabulations 1 is an online platform for virtual, yet spatial exhibitions based on architectural motifs of the building, currently occupied by ZKM | Karlsruhe. The platform was originally initiated in early 2021 by Theodoulos Polyviou and Eleni Diana Elia. It is essentially a lab that aims to generate new modes of spatial and narratological production in regard to exhibition making and production of space.

The platform was developed in line with the research endeavour of its host project Beyond Matter which inquires into the virtual condition in the visual arts, investigates the relevance of art and architecture in a digital era and the ways in which their predicated relationship can challenge the conception of borders, boundaries, and the ergonomic factors concerning space to become tools for political disorganization, procuring modes of queering that disrupt homogeneous normativity.

fantastic confabulations is a non-space that addresses institutional physicality and its contextual significance by moving away from established systems that preserve capitalism and focuses on decentralizing artistic activity away from one established physical site.

By recognizing the predicated polarization in the art world caused by the insatiable mutual desire of institutions and audiences for entertainment, while also considering the sociopolitical shift occurring in regard to identity in an era of persona designing and digital profiling, one is invited to imagine a different future for art institutions, museums, and galleries.

fantastic confabulations is a tool for artists, spatial designers, architects, writers, and curators to realize concepts on a temporal basis by escaping the economic constraints involved in spatial production and art-making. The participating practitioners work with the platform based on a framework of sustainability, to re-situate methods of production, exhibit, and most importantly to initiate an inquiry of the chosen physical site.

In the case of Beyond Matter, the symbolic and material boundaries of ZKM are being renegotiated, inviting viewers to find new ways to compromise within these reconfigured spaces.

The second exhibition to take place in fantastic confabulations is Call Signs by Jazmina Figueroa. Call Signs is a virtual performance lecture that is part machine-generated and part sensing – based on the subversive traditions of expanded media for information exchange and transference.

Confabulation originates from the Latin word confabulari.
The original definition of the word was ‘to chat, gossip or discuss a subject matter with another person’.
It also meant, ‘fairy-tale’ or fiction. Over time, the term got introduced within a medical framework.
In 1900 the term was used by Carl Wernicke in the first edition of Principles of Psychiatry and was defined
as the “emergence of memories of events and experiences which never took place.


What is objective in being formless?
Without form.
Continuous distortions taking place in channels, currents, circuits, surface systems of chaos.

Cut to a power cut,
Curb information flows,
An opportunity for breaking the un/centra
network structures
(...based on the myth of infrastructure, our objectives are...)
Radio waves were the first decentralized network
(...spurred intelligence for surveillance)
What about all of our DIY radio operators?
(... a practice forbidden during nation-state attempts for world expansion)
Who’s to say we can or can not transmit?
Here’s my attempt.

The ontological present as we know it:
After the ocean, a network of wet matter.
That this present is hydra sensing, moving, imagining, working from, within our technological means,
The ocean subsides into the administrator or “mother” metaphor
In which the ontological complies.
I suppose because it’s vast, or everywhere, and disseminated.

Crashing into us.
Crashing into us.
Making known chaos as a doctrine of being,

A being of Force
of violence /
of rupture made anew,
over abroad.
A circulation,
and with that data/information follows material.1

Or bodies.

We all share disdain and contempt
A trenchant frost towards [or for]
for the ontological present,
spiraling into some [absolute] (bottomless) figment
that is unknown and multiplied
is “un” – not there
a myth is not there.
a myth is not there.

Will an un-ness of flowing legacy, of residual,
renderings, remnants, quantum hauntology,
or chaotic otherwise,
ever/never be a myth?

A grasp that annihilates –
and when wet,
the matter itself might!
Abolition of this vestigial present, all,
a crashing resistance.
Into an un-, into multiple.
Utter abyss...

Look at hyper/hydra media
as storage
Or reconfigurations of Force.2
Spiraling from one procured root.

Here, in consonant fugues:
The letter “C”.
The shells of the “sea”.
Don’t you “see”?

Where the ornate and small
spirals coalesce and surface
Exerting hard to interpret data
assembled by mollusks – no two shells are identical.
Spirals that form as a gradual progression,
pattern marking each event that occurs, that happens to them.

A growing edge,
Static symbols of compression3,
And also of Force.

Mollusks, for example, are housed within this un-.
How many?
It goes without saying...
How many ciphers? Unknown.

“born where the water is at its purest
and upon rocks beneath the sea
and on what is called sunken reefs.
Its name is Nerites,”4

Nerites was an underwater nymph,
and for wanting to stay submerged in the ocean was punished by the enamored Aphrodite5,
She transformed Nerites
induced by her rage
into a tiny chamber for tiny creatures...
"a spiral shell, small in size but of surpassing beauty,” Aelian tells us.
And without Nerites, Aphrodite joined the gods of Olympus
and since he has remained that jilted hidden figure.

Missing from the Birth of Venus [Aphrodite’s Roman counterpart]6.

Her ascent from water onto land.
She stands on her half-shell,
from water onto land,
assisted by the wind,
from water onto land.

Nerites on the other hand
Has come to epitomize the un-,
His metamorphosis hardly broached by an epic poet,
His ambivalence is never named throughout antiquity.
He exists as an utterance, an aural rapport.
Only remnants of this un- Nerites’ roll up on shorelines,
after mollusks grow away from their chamber, to find anew.
Nerities’s wrathful consequence.

There is no ground to stand on in the Ocean.7
Marked by the topographical un-
The standpoint that is already un- done.
There is no ground to stand on in the Ocean.
An easing encircling movement transferred into the spiral pattern of a shell.

I assume Nerites is content, some sort of rapturous joy for his
“unfortunate gift”8
being where he belongs,
submerged in,
deep within,
another type of Oceanic feeling –
Involuntary yet his resistance, and to his defense,
he refrained from and became the intricate
constant bestowal of splendor
on the water’s edge.
For the sky to witness,
The land to come across,
and the wind to blow over,
and create a hallowed melody...
A recital of crashing waves, moving wet.

A song captured over organismic chambers
Overheard by those who come in close proximity,
and only above the water's surface.

Music later translated into waves,
above the surface,
otherwise, it’s distorted by water.
So what follows in our ontological presence
are the material visualizations
which imitates its source.

That’s how we form a mental picture of it...
the technological transmission of sounds:
Waves are picked up by radio transmitters.
Noise, sound.
The ontological present, as it perseveres, became fixated with arranging to categorize the messages.
a metaphor…
or overwrought,
as myth?
Or is it material?

What makes it material?
What material makes it?
Is it of material make?
The material makes it, is.
The material makes, is it?

There is, in fact, nothing chaotic about it, this material.
with its objective risk
To anticipate an ontological presence into data,
stimulate natural into pithy phenomena...
Numbered that is in fact infinite,
that is a misnomer: then metaphor…
absolute myth, material, and metaphor.9

Maybe because I'm not un- from the ontological present
as in the doctrine of being made up of
Myth, material, and metaphor.

What is imparted, at least, in the ontological presence is that it is wet
Or that an Oceanic feeling is vast, it’s a psychoanalytic mouthful,10
With aphoristic power!
In fact, is it’s all just chaos.

The spiral makes the obvious progressions of chaos.11

In shells, we noticed the biological architectures,
later used for currency.
Gaining new currency: algorithmically incarnated, or so to speak.
calculated into, tallied into.
However, the sequenced totals followed,
A culmination of attempts to chart this very living phenomenon,
the calcified material network,
A rapport of oblique lines and relief-like patterns
For what it’s worth
All of that forms the seashell,
to force movement over the Atlantic ocean.

But first came the currency12,
a metaphor for value.
A natural phenomenon is used as a material object of value.
aesthetic elaborations, encoded in calcium CO².

And when I think of chaos as Force
I do mean violence,
the violence of commodifying extracted parts offered over
from the ocean.

There is no moment of absolute, totality, only drama in the unraveling of this chaos.
I wonder...

Over there,
over a trans-Atlantic passage.
I wonder, settlers speculated when they arrived at Ometepe, this island of spirals?
The data has been wiped, which is evident to assist, comprehend, grasp the island’s peril and significance.13

Either way, any ethno-study of spirals, is never about relations and always about violent totality.
Overtaking. Overtaking, making wet.
The wager of making wet.
While the ontological present,
Subsides like some spiral affect
And spirals back into some cohesion.
Making wet.1<4/sup>

This is not a composition, I’m not interested in being
but rather what happens as a result of being,
and in
for the purpose of this
the myth and materiality of being
submerged into wetness.

As in wet matter – That is, hyper/hydra and beyond.
that conglomerates a current with channels,
Rendered gene pools, as data streams siphoned through submerged cables.
Wet as in to touch on,
the substance of a matter that has been soaked,
drenched, changed, & made wet. Wet.

But the ocean is not wet, which would suggest stagnancy.
It's forced by a push and pull, and by the chaos of infinite matter/material.

How seashells have shaped the extractive nature of resources,
materials that can be traced to routes of Force.

the son of Uranus (Heaven) and Gaia (Earth),
An embodiment of the expanding river that encircles the entire world.

Have mollusks modeled their spirals after their archetype?
To control this chaos?
To protect themselves from extraction or withdrawal?
Could Nerites ever sense that his
organismic arrangements
were to be obtained and grasped as currency?

Would Nerites like to hear that his legacy holds value?

There lies a legitimacy for myths,
as Structures for what purpose do things come into being,
not “biologically” but in our ontological present.
After all, concrete is solidified wet stone.15

How seashells have shaped the extractive nature of resources,
materials that can be traced to routes of Force.

The point of this construction of words is to work continuously,
shape itself like water, or sea
based on each Chaos that ensues.
It's relational with no mode manqué,
an un- specified.

[Hyper !!! Hyper !!! Hyper !!!]

Hyper, hyper, hyper, hyper, hyper.
A prevailing, a prevailing
beyond and within the reiterated ontological present
or after.
A means of moving through matter,
being what is and has been.

I, now spiral, spiral.
Forward/Backward. And told here...
How similar and different?

Here is how I can help you make sense of this:
A shell created by a mollusk
was once used as currency
and played a major role in the forced capture, trade, and genocide of populations.
Obtained, grasped.
Proliferation for the sake of progress, property, and expansion.
Suitable ornaments for such extravagant idiosyncrasies16
shaped our purview
of the ontological present.
Now that progress is mapped in data and networks, nothing almost remains un- seen.

The economies of shells
or spiraling turns a certain class of substance.
It is an economy of spirals, solid and rigid.
Erratically ensuing chaos, that is wettened.
And when water rushes, information gets carried away.
In waves or streams in circuit
and not enclosed,
it is a topography of wet hyper matter.
What lies on the Other/side?
Of these so-called Oceanic feelings?

A totally naive limitlessness.
Are Nerites just too young to leave?
Leave the Ocean that loved him?
The water that moved him.
What about drama?
As an abject hauntology?
Or spectacle?
What myth does this tell us about the sea?
Un- multiplicity?
Broadcasted, interconnected, a myth of horizontal and vertical lines.
Almost an ephemeral homophily,17
Obviously, who is subject to...
...or which chaotic outcome is it?

These tools, any technology,
They bestow forced networks of
The near hyper/hydro output.

Yes, we’ve heard of “Code totality"18,
meaning some collective intention for expanding over one topography.
The salt of the earth versus the freshness of the atmosphere.
diagram as
obsolete of
part of
multiplicity, and nonlinear.
Wet, I.
Wet reflective, revealing technologies as a sea power.
Ocean depths, the limitless place for anew or chaos.

Whats abroad.
And based on or,
solidified as a spiral.

A sea that rises to the problem of being conquered,
and there we have an atmosphere, still
in process.
Ebb and flow.

Once Oceanus topography is understood,
not as flat but,
as spirals...

I will maintain this fervor for sensing
The attempt of the ocean site,
in flux,
and flowing is the only absolute – an un- totality.

The constant going over and passing over,
dive in.
To those listening, as I speak,
Can you tell that the words are hard to come by?

This performance is a drama of Force
of expansion and not limited to objective representations
or "precise geometric arrangements”.

The words you hear do not outline things,
they are a transference of spirals
and since chaos ensues,
This is not a capture /
or grasp of air-like, earth-like, water-like
The matter that shapes the other sides, material/outcomes/chaos…

Each marking of here,
as hypermedia is consistent with its before state, ebbing once again.
Through this artificial presence made solid in a spiral.
Based on the total whole.
Point and process of departure.

(These words don’t come from me)
In this case, it’s sensing.

To clarify distinctions in expansion – not in the sense of accumulation or data storage and scale,
but as the formless outcome of a trade, rupture,
an un- sequence.
From the original pattern performing predictive object and abject.

Which might occur through absence or moving parts
mapping or displacement.
A gradual over, water-forced.

The same or equal to
All things connected
The same or equal to or the same as the incommensurable, transmission, a narrative flowing over, crashing into.

Am I a mirror?
Am I a mirror? Or wet? [don't ask, if you don’t want to know.]
Am I a mirror? Or wet?
Am I a mirror? Or wet?
[don't ask, if you don’t want to know.]

What matters is wet
A coastline is my extremity
always within I suppose that is what they'd like to hear from me...
A position, spatial point of exactitude.
"Let us" engage in such ”reductive transparency"19,
If there is something rotten.
(in the state of Denmark20 or lineage, or otherwise)
It rots above Water, on lands,
The rot is wet but not submerged, it is you
w durational over bodies of water.
Has flow, blending, rapids, readily streams. Stored over.
A wet matter that crashes into a damp water’s edge.

And THIS, right now.
Is a territorial way to listening,
listening in on
A listening by being, evidence of the immaterial.
A solidified form, in which we participate and move across.
Into cyclical generalization processes
of the various renditions of whatever happened to him,
to Nerites.

Any accumulation of tragic repertoire, stock, forced by myth.
Long before the making and capture of sound waves or our well-documented ontological presence.
The infrastructure, as capital power, comes from a spiraling myth of expansion.

The in the ocean’s water doesn't block sound transmissions
but absorbs noise, masking sound messages in transit
either they become lost, distorted, fractured, or wet.

The obsessed, preoccupation
with organizing
categorizing the messages of pressure
and compression,
otherwise waves.
To construct and grasp an ontological,
Like those data structures, that wrap around multiple
histories for the so-called one coded total –
numericals used in communicative reconfigurations.

Un- charting narrative, num-arrative.

A territorial way of listening,
listening in on,
a listening by being,
as evidence of the immaterial presence of wet.

At what instance materials wash ashore –
Neritesial ambivalence,
quantum chaos,
coveted transmissions,
revealing a painful event,
marking in whatever solidified form the mollusk creates.

over and under a wet surface.
over and under a wet surface. over and under a wet
ver and under a wet surface.
under surface. over under surface. over
wet surface.
Over under wet.

A surface of whorl-systems.
A surface of whorl-systems.
This surface of whorl-systems.

Theodoulos Polyviou [TP]: From ancient times, water has been associated with system-driven technologies. Invented in the Middle East, the first systems were centered on irrigation processes. Following that, up until the 18th century, Europe’s technology was primarily water-oriented and hence water management became an important domain to early engineering, a pivotal moment in contemporary infrastructure thought. Water as chaos then becomes a narrative device, a machine of de-centralisation to express identity disparity, sexual, gender, racial. It becomes a disruption to the centralisation of water often linked to the presence of a powerful western administration.

TP: The invention of the water mill during the Middle Ages to power engines inspired the conception of a network to contend with water distribution and that in itself shifted the classical notion of spiritual prosperity which was directly associated with stagnation. God, in Mediaeval theology, was at rest. Mobility was rather linked to something amiss. The development of hydraulic models, inverted that notion. So if currencies were/are propelled by the agency of the network, they are too of hydraulic origin, simulations of bodily circulations.
Hydraulic Despotism,

TP: I want a body that I can live in
I want a body with two dicks, five pouches, and fifteen holes
A body with no internal and no external
I want a body that no one can kick out of bathrooms
And then, I want no bathrooms
I want a body that screams, “Yes”
I want a body that says, “Yes, I’m hot for you”
I want a body with healthy organs
A body that sweats medical marijuana and golden dandruff flakes
I want a body in every color
I want a body that turns seas into land sculpture
An anti-toxin, a counter agent, to every shade of sex abuse slinking back from generations
I want a body that’s not afraid to fuck, and to be fucked
That can take it, that begs for it, that makes you beg for it
I want a body that spurts fountains
A body that dentists write fan mail to
I want a body with no “neos” or “isms”
A high-rise, free body
A low-rent body, a no-rent body
An unfriskable body
I want a body that I can offer up to you wherever and whenever you need me
A tocottie body, a body with no history, no plastic, and no dread
I want a Baywatch body, in tight red shorts, and someone to rescue it
I want your body
A body to play possum with when it’s too lonely out here
A nocturnal, musk filled body
I want a body that no matter how dead we seem always wakes up, clawing
-Jess Arndt, Collective Body Possum (2014)

Claudius Aelianus, On the Characteristics of Animals, translated by Alwyn Faber Scholfield (1884-1969), from Aelian, Characteristics of Animals, published in three volumes by Harvard/Heinemann, Loeb Classical Library, 1958.

TP: Some other names were given to them were:
Ourania - Heavenly, Divine (Love)
Pandêmos - Common to All People (Love)
Makhanitis - Deviser, Contriver
Epistrophia - She who Turns to (Love)
Apostrophia - Averter of (Unlawful Desires)
Kataskopia - Spying, Peeping
Psithyristês -Whispering
Praxis - Action (Sexual)
Melainis - Black (of Night)
Symmakhia - Ally (in Love)
Apatouros - Deceptive One
Nymphia - Bridal
Migôntis - Union (Marital)
Hêrê - Of Hera (of Marriage)
Morphô- Of Shapely Form
Ambologêra -Postponer of Old Age
Nikêphoros - Bringer of Victory
Areia - Of Ares, Warlike
Hôplismenê - Armed
Euploia - Fair Voyage
Pontia Of the Sea
Limenia Of the Harbour
Xenia Of the Foreigner
Kypria Of Cyprus
Paphia Of Paphos (Cyprus)
Syria Of Syria, Syrian
Eyrkinê Of Eryx (Sicily)
Kythereia Of Cytherea (Laconia)
Amyklaios Of Amyclae (Laconia)
Kôlias Of Colias (Attica)
Kastiniê Of Mt Castium (Pamphylia)
Knidia Of Cnidus (Caria)
Pyrênaia Of Pyrenees Mts (Gaul)
Akraia Of the Heights
Kêpois Of the Gardens
Anadyomenê Risen from the Sea

TP: Aphrodite has been shaped by waves connecting Cyprus to the Near Eastern neighbours while shaping her own agents. As much as They(Aphrodite) were a negative space between lands, a trade route, perennially being colonised, they were also geographies of resistance.
I wonder what part of Aphrodite fell for Nerites?
And which part of her punished him?
Who is to blame when they are always in a state of becoming?
The Great Goddess, the Egyptian Hathor, who then became the Hellenised Isis, and then the Sumerian Irana, the Akkadian Ishtar and the Phonecian Astarte, they all incarnate into her/him/them (Aphrodite). (Ishtar) Goddess of war, justice and political power, enamoured of fortuitous pilgrims , got syncretised with love (mother goddess), and finally got transmgrificated into Virgin Mary.
They are therefore formless, diaphanous but nebulous. It comes as no surprise they once had had the epiclesis of Doritis (bountiful) or Berbeia, Zêrynthia, Kastniêtis, titles that still remain obscure.

Referring to the affective state of unease concerning histories of dispossession and incommensurability in the work of Stefano Hardy and Fred Moten:
"If you want to know what the undercommons wants, what Motenand Harney want, what black people, indigenous peoples, queers and poor people want, what we (the “we” who cohabit in the space of the undercommons) want, it is this – we cannot be satisfied with the recognition and acknowledgement generated by the very system that denies a) that anything was ever broken and b) that we deserved to be the broken part; so we refuse to ask for recognition and instead we want to take apart, dismantle, tear down the structure that, right now, limits our ability to find each other, to see beyond it and to access the places that we know lie outside its walls. We cannot say what new structures will replace the ones we live with yet, because once we have torn shit down, we will inevitably see more and see differently and feel a new sense of wanting and being and becoming. What we want after “the break” will be different from what we think we want before the break and both are necessarily different from the desire that issuesfrom being in the break."
Excerpt from Stefano Harney and Fred Moten, The Undercommons: Fugitive Planning & Black Study (Autonomedia, 2013).

The linking of trauma to oceanic feeling might support the idea that oceanic feeling is a kind of manic defense against pain. However, even if this were the case, it still might (paradoxically) also be true that the oceanic is a source of ecstatic joy: a kind of terrible gift.”
Excerpt from Jackie Wang, Oceanic Feeling and Communist Affect (2020).

TP: ...Interconnected water sources are believed to have the same spiritual energy, forming part of the same ‘site’. Many waterways are considered dreaming tracks and songlines, which establish linkages between and connect different Indigenous groups (NWC, 2013)...
Study of groundwater-related aboriginal cultural values on the Gnangara mound, western Australia.

After Freud’s “oceanic feeling” described in Civilization and Its Discontents (1930), Romain Rolland examines this notion as a state of having mystical feelings, for example religious experiences.
Freud, Sigmund, and Strachey, James. Civilization and Its Discontents, (Norton, 2005)

"The spiral is an attempt at controlling the chaos. It has two directions. Where do you place yourself, at the periphery or at the vortex? Beginning at the outside is the fear of losing control; the winding in is a tightening, a retreating, a compacting to the point of disappearance. Beginning at the center is affirmation, the move outward is a representation of giving, and giving up control; of trust, positive energy, of life itself. Spirals - which way to turn - represent the fragility in an open space. Fear makes the world go round."
Excerpt from Louise Bourgeois: Sprial, (2019)

These little shells were harvested en masse in the Maldives for a thousand years, and they were used as money around the world. The money cowrie is a reef-dwelling algae-eater in the genus Cypraea, which actually shares its Greek root word with cryptocurrency — crypto, meaning hidden or secret. I was really fascinated by the money cowrie when I found out that it had been used as a major currency of the slave trade. In West Africa, they actually purchased an estimated third of the enslaved Africans forced to the Americas.”
Cynthia Barnett discussing her book The Sound of the Sea with Vox podcast host Benji Jones in July 2021.

“The vague feeling that the end of the world had been reached, in the geographical sense, removed whatever element of adventure and perhaps blind belief there had been in the discovery of the other. Since the beginning of this century the shrinking of unexplored regions on the map of the world has made minds less infatuated with adventure, or less sensitive to its beauty, inc1ining more toward a concern for the truth of human beings. Understanding cultures then became more gratifying than discovering new lands. Western ethnography was structured on the basis of this need. But we shaH perhaps see that the verb to understand in the sense of ‘to grasp’ [comprende!] has a fearsome repressive meaning here.”
Excerpt from Édouard Glissant, Poetics of Relation, translated by Betsy Wing (Ann Arbor: The University of Michigan Press, 2020)

“[Moten’s subjects] are oceanic. Not only are they affected by others, they spill over, into and are haptically undone and remade by each other. This notion of paraontology dispenses with an idea of selfhood as a kind of property relation characterized by self-ownership. Being is not self-possession or even self-determination; it is movement and circulation.”
Excerpt from Jackie Wang, Oceanic Feeling and Communist Affect (2020).

The myth of any institutional solidity based on Marx’s statement,“All that is solid, melts into air”.
Marx, Karl, Friedrich Engels, and Gareth Stedman Jones. The Communist Manifesto, (Penguin, 2002)

Molly A. Warsh. American Baroque: Pearls and the Nature of Empire, 1492–1700. (Williamsburg, Va.: Omohundro Institute of Early American History and Culture; Chapel Hill: University of North Carolina Press, 2017)

Wendy Hui Kyong Chun, “Queerying Homophily,” Pattern Discrimination (Meson Press and Minnesota University Press, 2019).

“The computer scientist will exclaim that his machine, better than any other possible, sets us to thinking of totality. But his is a totality deciphered through a game of signs, a code totality. It evades the drama of languages.”
Excerpt from Édouard Glissant, Poetics of Relation, translated by Betsy Wing (Ann Arbor: The University of Michigan Press, 2020)

“Against this reductive transparency, a force of opacity is at work. No longer the opacity that enveloped and reactivated the mystery of filiation but another, considerate of aB the threatened and delicious things joining one another (with- out conjoining, that is, without merging) in the expanse of Relation.”
Excerpt from Édouard Glissant, Poetics of Relation, translated by Betsy Wing (Ann Arbor: The University of Michigan Press, 2020)

Horatio: He waxes desperate with imagination.
Marcellus: Let’s follow. ‘Tis not fit thus to obey him.
Horatio: Have after. To what issue will this come?
Marcellus: Something is rotten in the state of Denmark.
Horatio: Heaven will direct it.
Marcellus: Nay, let’s follow him. [Exeunt.]
Excerpt from Hamlet Act-I, Scene-IV, Lines 87-91.

A spiral makes obvious the progressions of chaos:
"The spiral is an attempt at controlling the chaos. It has two directions. Where do you place yourself, at the periphery or at the vortex? Beginning at the outside is the fear of losing control; the winding in is a tightening, a retreating, a compacting to the point of disappearance. Beginning at the center is affirmation, the move outward is a representation of giving, and giving up control; of trust, positive energy, of life itself. Spirals - which way to turn - represent the fragility in an open space. Fear makes the world go round." Excerpt from Louise Bourgeois: Spiral, (2019)
In shells, we noticed the biological architectures which were later used for currency. As we gain new currency in algorithmic incarnations, or so to speak, all of what is and was calculated into, or tallied into attempts. That is, the attempts at sequencing wholes that materialized from a culmination of, for example, charting a shell’s very existence and natural phenomenon: the calcified material network – the arrangement of oblique lines and relief-like patterns with obscured interpretive origins. For what it’s worth, all of what makes up a mollusk’s shell is also part of forcing movement over the Atlantic ocean.

Call Signs (2021) virtual performance lecture, 25:26, written and arranged by Jazmina Figueroa.

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Artist: Jazmina Figueroa
Curator: Theodoulos Polyviou
Project Coordinator: Felix Koberstein
Digital Consultant: Andrew Madden
IT: Christian Lölkes

The online platform was organized in the framework of Beyond Matter, an international, collaborative, practice-based research project, that is co-funded by the European Commission.


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The ZKM | Center for Art and Media Karlsruhe is a foundation under public law, and is registered in the Official Journal (GABl.) of the state of Baden-Württemberg under file number 53-7958.50/193/1.
Artistic-scientific Chairman and CEO: Prof. Dr. h.c. mult. Peter Weibel, Chief Operating Officer: Dr. Helga Huskamp
Regulatory authority: Ministry for Science, Research and Art Baden-WürttembergValue Added Tax Identification Number (UID) according to §27a, Value Added Tax Act: DE 143588970