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Objects Refuse My Name
Objects Refuse My Name—A Poem of Solipsism, Time, and Withdrawal by R. Jay Hoffman Because I couldn’t typedeliberate and precise—the keyboard rejected my rhythm.It wasn’t me speaking; it was the cordcurling under my desk like a molting snake.My fingers were merely an eventin the timeline of plastic fatigue. I told myself I was confused.But it was the glass of the screenrefusing reflection,not…
Asking Questions of A Collective Nothing
Asking Questions of a Collective Nothing The landfill accepts and changeswhat comes and goes,but what comes and goesare measured on different scalesby deciders within their own realms. The fast food wrapper,once white with red lettering,now settles into its fifty-yearconversation with soil bacteria,its polyethylene moleculesvoting in chemical democracywith earthworm parliamentsand rain’s…
Exploring Temporal Democracy in Everyday Life
Temporal Democracy: When Every Day Becomes Saturday Posted by R. Jay Hoffman | May 27, 2025] There’s something about Saturday that operates outside normal temporal rules. Not just the obvious freedom from work schedules, but something stranger—the way Saturday afternoon seems to exist in multiple time zones simultaneously. You’re lounging in domestic time while participating in cosmic time, all…
Timothy Morton, Being Ecological (UK: Pelican Books, 2018) Several thousand years from now, nothing about you as an individual will matter. But what you did will have huge consequences. This is the paradox of the ecological age. And it is why action to change global warming must be massive and collective. p.35 Humans don’t ‘have’ Dasein [mysterious being], because Dasein produces or realizes the human, in the same way that our violinist realizes the Bach sonata. p.48
The reality of the building does not consist in the roof and walls but the space within to be lived in
老子 Laozi [1] [2] [3] [4]
xtro realm
xtro realm
FKSE – Stúdió Galéria Rottenbiller u. 35., Budapest, 1077 2017.11.07–30.
Az xtro realm kiállítás az azonos nevű programsorozat része, amelyet októberben egy három alkalmas nyilvános és nagy érdeklődésnek örvendő olvasókör vezetett fel. A moderátorok által bemutatott szövegek olyan új filozófiai irányzatokat idéztek meg, amelyek az emberközpontú világszemléletet problematizálják, és az emberi érzékelésen kívül eső valóságok lehetőségét vizsgálják. A tizenegy kiállító művész az olvasókör tapasztalataira építve hozta létre a kiállításon megtekinthető munkákat.
Rózsás díszmárna úszkál a fekete függöny mögötti plexigúlában, bele-belevész a kiszakított térszelet mélységeibe. Hogy tényleg halról van-e szó, csak akkor merül fel, miután percekre elmélyedtünk az izgő-mozgó kivetülés látványában. Akárha másodpercekre is, vajon elhittük-e, hogy Seemann Adrienn munkája valóban egy hal, és ha halként bíztunk meg benne, mi történik vele, ha a videóloop véget ér?
Alapvető episztemológiai kérdés: hogyan rendszerezheti az ember az ökoszisztémát, amelytől függ, amelynek önmaga is része? Az összeférhetetlenség ellenére a tudományos megismerés nem elképzelhető bizonyos mértékű optimizmus nélkül. A világ megismerhetőségébe és számszerűsítésébe vetett hit azonban egy feltételezett külső nézőpontot követel meg, például a műhold nézőpontját: az online fogyasztó felfújható égitestet vásárol, nincs is ebben a birtoklási vágyban semmi rendkívüli. Süveges Rita festményein a felfújható Föld és Mars viszonyul a világegyetem egészének festészeti ábrázolhatóságához.
Birtokolni a múltat, a jelent és a jövőt: emberi perspektíva. Rohonyi Demkó Iván szimulációjának algoritmusa a jövőre tett spekulációk alapján alakítja a jelent. Ha a jelen a jövőről alkotott számításokra épül, hogyan osztható fel mégis az időbeliség? Az ember által alkotott algoritmusok, programok, robotok túlmutatnak az emberi tudáson, akármelyik pillanatban túlnőhetnek az emberi faj keretein, az emberi életöltő végességén. Ám mégis tárgyként, objektumként tekintünk rájuk. Hol húzódik a határvonal ember és robot között, honnan tudhatjuk biztosan, hogy mi az előbbi, önkényesen megszabott kategóriába tartozunk? Ezeket a kérdéseket teszi fel többek között Szimán György videórészlete, amely mindenképp elbizonytalanít minket a fenti határvonalat illetően.
Az élet határa, az időbeliség emberközpontúsága, a természet megismerhetősége, a világ értelmezésének elengedhetetlen romantikája – az xtro realm kiállítás a spekulatív realizmus, objektumorientált ontológia és ökológiai elképzelések mentén kíván tematizálni olyan kérdéseket, amelyek az antropocentrikus megközelítésmód legitimitásának megkérdőjelezésében érnek össze.
Kiállító művészek: Barna Orsolya – Gosztola Kitti – Pálinkás Bence György, Horváth R. Gideon, Keresztesi Botond, Rohonyi Demkó Iván, Seemann Adrienn, Süveges Rita, Szimán György, Tranker Kata, Zilahi Anna
Az xtro realm csoportos kiállítás november 7. és 30. között látogatható az FKSE – Stúdió Galériában. A programsorozat szervezői Horváth R. Gideon, Zilahi Anna és Zsámboki Miklós.
A kiállítás támogatója az Edgite Kft.
xtro realm
FKSE – Studio Gallery Rottenbiller u. 35., Budapest, 1077 07–30 November 2017
The xtro realm exhibition is a part of a series of events of the same name. It was preceded by three successful reading circles that were open to the public. Moderators introduced texts focusing on new philosophical approaches, which problematised human-centric world views and examined the opportunities of realities beyond human observation. The eleven exhibiting artists created the works presented at the exhibit, based on their reading circle experiences.
A rose barb swims in the plexiglass-pyramid behind the black curtain, disappearing from time to time into the depths of space’s ripped out slices. The notion that this is indeed a fish only surfaces when we spend immerse for minutes into the sight of the projection. If only for seconds, but did we believe that Adrienn Seemann’s work is indeed a fish and if we have trusted it to be a fish, what happens when the loop ends?
A fundamental epistemological question is: how can humans systematize the ecosystem, which they themselves depend upon? Which they are also a part of? Despite this conflict, scientific inquiry cannot be imagined without a dash of optimism. The belief that the world is comprehensible and quantifiable necessitates an external point of view, for instance the view of an orbiting satellite: the online consumer purchases an inflatable orb in virtual reality—there is nothing unusual in this desire for possession. In Rita Süveges’ paintings the inflatable Earth and Mars relates to the artistic representability of the universe’s entirety.
To possess the past, present, and the future: human perspective. Iván Rohonyi- Demkó’s simulation’s algorithm defines the present based on speculations of the future. If the present is based on calculations of the future, how can we partition temporality? Capabilities of man-made algorithms, programmes, robots extend beyond humans’ knowledge, any minute now they will be able to surpass the boundaries of the human species, passing beyond the finiteness of a human life. But we still view them as objects. Where is the boundary between human and robot, and how can we be sure that we are a part of the former—an arbitrarily created grouping. György Szimán’s videoclip asks these questions, amongst others, which definitely discourage our understanding of this boundary.
The boundaries of life, temporality’s human-centeredness, the ability to grasp nature, the indispensable romanticism of interpreting the world—the xtro realm exhibition aims to thematize questions, guided by speculative realism, object-oriented ontology, and ecological ideas that are conjoined in questioning the legitimacy of an antropocentric approach.
The exhibition xtro realm is open between the 8–30 November 2017.
Artists: Orsolya BARNA – Kitti GOSZTOLA – Bence György PÁLINKÁS, Gideon R. HORVÁTH, Botond KERESZTESI, Iván ROHONYI DEMKÓ, Adrienn SEEMANN, Rita SÜVEGES, György SZIMÁN, Kata TRANKER, Anna ZILAHI Organizers: Gideon R. HORVÁTH, Anna ZILAHI, Miklós ZSÁMBOKI
The xtro realm reading circles have been organized in cooperation with the József Attila Circle.
The exhibition is sponsored by Edgite Hungary Kft.
"For the world also contains parakeets, silver, limestone, coral reefs, solar flares and moons, none of them easy to classify as 'culture' or 'society,' and all of them interacting with each other whether humans discuss it or not." #thewellwroughtbrokenhammer #newmanifesto #ooo #objectorientedontology
Ontological Objects
I’ve been dipping in and out of Object Oriented Ontology for the last few months and have found it an interesting position from which to view objects from the Museum of St Albans collection.
Ian Bogost defines Object Oriented Ontology as follows:
Ontology is the philosophical study of existence. Object-oriented ontology (“OOO” for short) puts things at the center of this study. Its proponents contend that nothing has special status, but that everything exists equally–plumbers, cotton, bonobos, DVD players, and sandstone, for example. In contemporary thought, things are usually taken either as the aggregation of ever smaller bits (scientific naturalism) or as constructions of human behavior and society (social relativism). OOO steers a path between the two, drawing attention to things at all scales (from atoms to alpacas, bits to blinis), and pondering their nature and relations with one another as much with ourselves.
There are a number of philosophers and theorists who have written about the subject. I’ve read pieces/watched lectures by Graham Harman, Timothy Morton, Quentin Meillassoux, Slavoj Zizek and others. I tend to read and digest theory like poetry, taking what resonates with me rather than attempting to interpret the whole subject. I am particularly drawn to the way that OOO moves away from an anthropocentric (people centred) view of the world and places the emphasis on the object. I also observe that a democracy of objects (levelling the status of objects) allows them to be viewed in a more significant/in-depth way by ascribing equal value. Art- with its focus on the visual- already has a way of embracing this approach to objects, which is perhaps why OOO has captured the imagination of several curators and art theorists over recent years. It is also a move away from relational aesthetics, popularised by Nicolas Bourriaud in the late 90s, as it celebrates the autonomy of objects, moving the emphasis away from the context and human experience of the artwork. This is perhaps where my skepticism of OOO begins. I enjoy the non-anthropocentric view, but I feel there needs to be space for relationships between objects and between objects and people as this brings a key dimension to perception, interpretation and experience. I would also question where objects in transition, such as melting ice fit within an OOO analysis- OOO proposes that all objects have autonomy and are thus divided (see Graham Harman’s ‘Third Table’ analogy).
Useful links:
Graham Harman: Objects and the Arts https://www.youtube.com/watch?v=QJ0GR9bf00g Paul Johnson in conversation with Timothy Morton, Focal Point Gallery https://www.youtube.com/watch?v=UdRKYznAMwI The Anti-Political Aesthetics of Objects and Worlds Beyond, by Svenja Bromberg http://www.metamute.org/editorial/articles/anti-political-aesthetics-objects-and-worlds-beyond The Dew Lab Introduction to Object Oriented Ontology http://www.thedewlab.com/blog/2012/07/12/introduction-to-object-oriented-ontology/
What is Object Oriented Ontology? Ian Bogost http://bogost.com/writing/blog/what_is_objectoriented_ontolog/
