(MindMachineMakingMyths)… LAB in Bangkok

Psycho Case Studies

P.r.o.p.s. / architecture scenarii experiments / Shelters + Films / 2012-16 / India Gokarna (1)+ Greece Chania (1)+ Thailand-Bangkok (9) + Singapore (2) + France  (2) + Swiss (2) + Austria (2)...

 visible at

-First Biennial of Chicago / fall 2015 /

-Istanbul Biennial / fall 2016 /

-Frac Orleans 2016-17 /

-Art-Fair Singapore 2017 /

And last book "mythomaniaS" / Free Downloadable HERE

& all the movies in one blog >>>>

& last main exhibition / ''s/he would rather do FICTION MAKer''


Articles and Interviews on

1)Sukerpunch / (click)

2)Morfae / (click)

3)Archinect / (click)

4)Archinect on ChicagoBiennale /(click)

5)Archipelago / Funanbulist (click)

6)E-Flux / (click)


Meta / Metem-Psychosis / Para-Psychosis / Libidinal Resistance / Bachelor Machines / Eros-Tanatos / Apparatuses-processes / MPDisorders…

...Psychotic machines, psychotic apparatuses and fragments … Bodies in verse, bodies-becoming… are meeting in the stories of their symptoms… plausible. The ‘forbidden’ is reintroduced as a possible, and, what was rejected or considered as an improper ingredient within our computer graphic idealization of the world is coming back like a George Bataille’ substances… in a repulsive ‘curiouser and curiouser’ affinity, in the pursuit of the notion of risk of Ulrich Beck....
The human being isn’t any more considered as a bio-eco-consumer but is drifting into a psycho-computing-animal which defi(n)es its situation and condition of living simultaneously to the architecture’s emergences, as a co-dependency, a co-relationship… for a Siamese twin alienation. Para-psychoses, projections of the mind, delusions and singularities seem more relevant: Lines of Subjectivities vs Functionalism, Bodies vs Body, Substances vs Design, Scenario vs Concept… ‘Pataphysics vs pseudo-Scientific Positivism,…

Environments and paranoia as symptoms of an inner condition, in a constant exchange between narrative and emergence, in a stuttering process: a storytelling manifested in the creation of a fiction which uses a fragment as a by-product and where a material structure with its physical characteristics takes shape and instructs the story.
Each scenario is a condition of solitude in relation to a ‘symptomatic symptom’ structure, where the fragment is the very “raison d’être” of his/her emotions: the true story of an old Indian book collector exiled from his community on the suspicion of atheism, who finds refuge in a tear-collecting shelter, made of stones and lachrymatories (“… Would Have Been My Last Complaint”); a scientist captured in the Anthropocene entropy, condemned to accept metempsychosis exchanges, according to the principle of thermodynamic law (“Although (in) hapnea”); a monster-boy endomorph constantly overfed, protected in a claustrophilic antidote-jacket from the love excess of his incestuous mother (“(beau)strosity”) ; the suspended time of Ariadne floating between two periods, two macho spirals, testosteroned Theseus and alcoholic Dionysus (“Terra Insola”) ; the feral child, innocent, naïve, and obscene, in the deep jungle, auscultated by scientism and voyeurism (“the Offspring”) ; the ‘difference and repetition’ of an affective alienation become caged food in the pursuit of Gilles Deleuze (∑days) ; a post culture spasm…in a mud-dirt-turd where substances (human psyche and rejections) and meet in their states of chemical transformation (“concrete(I)land”),
an oracle trapped in a Carbon spot, similar to the Delphic Pythia, stoned in a gas vapors, strangling, feeding and vomiting herself at the place… to tell the truth (“ liminal“), a real episode of mister ThankYou life, who died in the street two month ago. He is trapped in a stuttering Tourette Syndrome Borborygmus facing the BKK kids cruelty (‘emet’), a sardonic  banished king’s jester arbitrista midget   in the darkness of Sathorn Unique, abandoned skyscrapper in BKK, growling within its pandora box, where hope is becoming his grandiose delusions pathology ('WHATEVS~4~EVS')...

...producing a shelter which produces a movie and the movie at the origin of a shelter /…as a Siamese twin interlaced production, between narration and topology, able to cross fabrication expertise and human pathologies to create the condition of a passage, for a navigation between allusive realism and speculative fiction ….intertwined, interlocked as a story telling developing two collateral effects, two artifacts: one by the potential to develop a fiction using an emerging structure as a by-product, and the other on the tangible and tactile world by shaping an emergence which will “construct” the “raison d’être” of the story. The relationship, the permanent flux between the architecture becoming a Prop of another production, in another discipline, and its own real and fictional footprint (un)resisting to its own erosion produces an indistinguishable transitory and transactional process of a Siamese dialogue…where the two are slipping in an osmotic, a symbiotic stuttering…(schizoid protocols within miscibility and autonomy…), at the base of the birth of some twinned fictional identities...Through Mythomania of each situation, of each characters...transforming environments with their para-psyches, confusing from kind of Plato' grotto, trajectories, lines of fiction and physicality. The architecture fragments is becoming the cartography of their mind from where they could accept the shifting, the drifting... as a receptacle of their paranoia, but in the simultaneously as a vector, a shelter of their emotions. Reprogramming architecture with psychism....fear and emotions, relationship aesthetic and 'mise en abime' / placed into share this schizoid goal… storytelling and fabrication but also to create a laboratory, in one month, every year, able to provide the conditions for using and manipulating Sciences and Fictions.

On the side, experiences are done in BKK, through a fab-lab, M4, including a 6 axes robot, multiples nozzles, Real Sensor Interface,… a unit of fabrication as an architecture ‘agenda’, confronted to different biotopes and feedback…in a permanent challenge to articulate the contingencies of logic between the instruments-tooling…. as computation, as robotic, as 'de-expertise' on design process… with… at the opposite… the discovering of the potential of a masochism adaptation, for a kind of ‘situationism’ claim or debt, …in a strategy-tragedy of correlations…of co-dependencies...Symmetrically far away from workshop in a ‘white cube class’, only dedicated to instrumentation and childish-fetishism… as well as illusion-alibi of pro-bono… Narration-fabrication they are operating is a research zone, questioning the emerging scenario, which is simultaneously the vanishing point and the substrates of those by-products…appearing as artifacts…for prototyping discourses and substances, material and unmaterial…In the pursuit of the LOG#25, edited by Francois Roche in N.York about ‘Reclaim Resi[lience]stance',... 

#mythomaniaS is a catalog of case studies in the form of film  stills, archi- tectural fragments, stage props, texts, and images culled from the experi- ments of mindmachinemakingmyths (Lab M4, part of New Territories studio), to construct environmental-architectural psycho-scapes (in the partly fabri-cated wilds of various countries) as laboratory-shelters for exploring and deconstructing the  supposed rifts between realism  and speculative  fiction (myth), psyche and environment, body and mind, and “Mania” which refer, etymologically, to an Insane drive of perception-projection. Bringing together archi- tecture, Deleuze and Guatarri’s schizoanalysis and deterritorialization, and Alfred Jarry’s ‘Pataphysics (the “science of imaginary solutions …). They enacted  and filmed mise-en-abymes in which certain scripted para-psychic narratives and architectural struc-tures merge in the pursuit of reclaiming resilience — described by Roche as a tactic for merging refusal and vitality into a schizophrenic logic able to navigate the antagonism between the bottom-up and top-down conditions of the globalized world. In these fabricated schizoid psycho-nature-ma- chine-scapes, the human being is no longer a bio-ecological consumer but a psycho-computing animal that emerges co-dependently with its environment in a hyper-local haecceity (“this-ness”).

In the vein of Situationist psychogeography (“the study of the precise laws and specific effects of the geographical environment, consciously organized or not, on the emotions and behavior of individuals”), each scenario fabulates geo-architectural conditions of human exile, solitude, and pathology drawn from narratives of the forbidden and taboo: the true story of an old Indian book collector exiled from his community on the suspicion of atheism, who finds refuge in a tear-collecting shelter (“Would Have Been My Last Complaint”); a scientist captured by a water spirit who remains trapped like a fish in the mindscape of a fish butcher (Although (in) Hapnea); a monster-boy endomorph constantly overfed and protected by a claustrophilic antidote-jacket produced by the excess of his incestuous mother’s love ((beau)strosity); Ariadne, labyrinth overseer, floating between two macho spirals, testosteroned Theseus and alcoholic Dionysus (Naxos, Terra Insola); the feral child — innocent, naïve, and obscene — in the deep jungle, auscultated by a scientistic voyeurism (The Offspring); etc. Each of these scenarios (designed as “shelters” where mind, environment, and architecture co-map each other) unfolds a “mythomania” in which each character transforms, and is transformed, para-psychically, by the environment, in a sort of biotope (habitat) feedback experiment.

Ultimately, They want to create — via architecture and design, myth (literature), and psycho-geography — various conditions for schizoid passages between realism and fiction, expertise and knowledge, mind and built environment, narrative and topology, in order to bring about new strategic-tragic co-dependencies as forms of schizoid resistance to the usual identity regimes, and to also reboot architecture as a form of psycho-social praxis and non-necrotic speculation.

Free downloadable on

Initially "mindmachinemakingmyths-mythomaniaS" was founded by FRoche and CLacadee (2011-15)


Lab M4 / new-territories: Architect "s/he" _ Personal secretary Francois Roche  ----Actual Partners / Vongsawat Wongkijjalerd, Stephan Henrich, Gwyl Jahn, Devin Jernigan ----Previous Partners and Colaborators /  Stephanie Lavaux, Ezio Blasetti, Danielle Willems, Camille Lacadee, Daniela Mitterberger, Tiziano Derme, Agatha Partyka, Katrin Hochschuh ----Institutions Partners / FRAC Orleans - RMIT - UPENN - Michigan Ann Arbor - Innsbruck Hochbau - Columbia GSAPP - INDA Chulalongkorn - Donau Festival - Singapor Biennale - GRAHAM Foundation - CNC DICREAM Paris-…

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...‘Science+fiction can be defined as that branch of literature which deals with the reaction of human beings to changes in science and technology’ from Isaac Asimov, 1975

The fabrication of the 'prop' is developed from robotic processes. We operate the robot with real sensor interface (RSI), using signals, inputs, analogue or digital. In this process, inputs are collected through UPD signal and the chain of Processing, Firefly, Grasshopper, Rhinoceros and re-injected (every 2m/s) in the 'parcours' of the machine, creating a permanent conditional position, between 'the point where the machine was' to 'the point where the machine should be', as a vector of translation in an iterative redefinition ... without ever reaching any vanishing point as a goal of achievement. It introduces perturbations and stochastic positioning, in real time, where the trajectory of the nozzle is reacting to the robot's very noises (machine clicks, Inverse kinematics movement, pneumatic piston...) or other agents as any signal able to be transformed in data (even the pathologies and diseases able to be transcripted as input, as Tourette Syndrome with scanning Kinect). Those agents corrupt the programed predictable work and modify in real-time the path of the fabrication, as a stuttering feedback coming from the intrinsic protocol of doing, increasing the intricate meanders of the tool in an ever permanent inaccuracy of positioning, introducing non-linear processes ... as a way of territorializing technologies, but at the condition to be defined through nondeterministic and loophole logic-illogic ...



Movies / Scenarii / Experiments.............. all the movies in one blog

-days / Movie5mn / 2014>>>                       

-Although in Hapnea / Movie12mn / 2013>>>>>

-Beau-strosity / Movie3mn / 2013>>>>>         

-What could happen / Movie15mn / 2015>>> 

-ex-Timity / Movie9mn / (french soliloquy) / 2015>>>

-OffSpring / Movie10mn / 2014>>>>>

-WhatEvs-4-Evs / Movie 5mn / 2014>>>>>>

-It would have been my last complaint / Movie13mn / 2012>>>>>

-Terra Insola / Movie4mn / 2013>>>>>

-La Passe / Movie10mn / 2014>>>  

-ZeitGast / Movie5mn / 2015>>> 

-Emet / Movie3mn / 2015>>>

-concrete(I)land / Movie13mn / 2015 in editing>>>

-The Feral Child (Prelude) / Movie5mn / 2014>>>>>

-Alterated State / Movie1mn / 2013>>>>>>

ROBOTS Process

-Catatonia /

-The Vagabond and the Machine /

-MMyst /

-SHi /

-Noisy Poo /  + Ice Poo /

Without props

-the Timidity Symptom / About Museum in BKK / Biennale 2014 / Movie5mn>>>>>

-An ordinary day at [eIf/bʌt/c] studio / BKK  / 2012 / Movie3mn>>>>>

Lecture on mythomaniaS production

Lecture 2016 / 15 mn>>>>>  





0) What Could Happen / Swiss / White Lake 2015


What could happen, what must[1], in this ascendant vehicle, in the snowy whiteness, without perspective and devoid of sight, on a rickety mountain train? We traverse through the cold to reach the last sanatorium up in the heights, where Thomas Mann wrote Tristan[2].

During the journey, an unexpected event suddenly halts the train. This is not purely hazardous. A roll of the dice will never abolish chance[3]. But we will be safe and sound. It has all been foreseen, evaluated, predicted, anticipated… security and safeness considered.

The train is a metaphor[4] or the impetus to reach an illusory point that can never be met. The artefact is in the way. There’s enough paganism, enough mysticism in the mountains to alter the journey’s trajectory of expectedness, of foreseeable modes. Now you are on the bandwagon.

Sounds and noises[5] of uncertain origin, uncertain, explained phenomena, creatures’ tracks[6], chill, hypothermia and its imminent threat, of dilated pupils, of inaudible heartbeats, the anteroom to unconsciousness, mortem-post-mortem, a close call, absolutely painless, ataraxic, asymptotically. As the curve reaches closer to its fate a rite of passage is lived over and over again.

Dignitas / Swiss Criminal Code Paragraph 115[7] 

A piling-up of intertwined bodies, contorted, fastened in carnal embraces, a multitude, a humming swarm, the crackling noises of successive congealing, ever-ending. The phase change of water[8], chemistry, sublimation. 

Through this experiment our participants will reunite in the good death, an escape or weaning[9]. Here the migration of souls, the exchange for an elsewhere - those on the train will climax indefinitely and then finally, at the cost of our story's Mcguffin.[10]

[1] Peter Brook: A stage space has two rules: (1) Anything can happen and (2) Something must happen

[2]  1903 novel by Thomas Mann, set in a Swiss alps sanatorium

[3] Stéphane Mallarmé’s last major poem, Un coup de dés jamais n'abolira le hasard, 1897

[4] Etymologically ‘metaphor’ means ‘vehicle of transportation’, directly from Latin metaphora, from Greek metaphora - ‘a transfer’

[5] Referred to as music, a hum, or a whisper, but an explanation of a mysterious noise that has been heard by some people over Lej Nair has never been found. In other lands and times it would have been an object of superstitious reverence or dread.

[6] ‘La Diavolezza’, legend of the beautiful she-devil, cause of the disappearance of many young mountain hunters.

[7] Switzerland has legislatively permitted assisted suicide since 1942

[8] Supercooling is the process of lowering the temperature of a liquid or a gas below its freezing point without it becoming a solid. The intrusion of an impure element then results in the instant-freezing of the water.

[9] Weaning, rite of passage, from child to man

[10] plot device in the form of some goal, desired object, or other motivator that the protagonist pursues, usually forgotten by the end of the story

Critical Apparatuses

Bart Lootsma

Something makes people want to walk, ride or climb to mountaintops, how dangerous an undertaking this may be because of conditions of terrain and weather. It is something completely irrational. Some have themselves brought to the tops of mountains with trains, cable cars and even helicopters. It is often thought that this is to appreciate a sublime, untameable nature, since it has been already the theme of many a sublime Romantic painting or poem. But in fact most Alpine mountain tops are as artificial as a Dutch polder, not just with the cross on top of it, but with mines dug underneath, avalanche protection, restaurants, hotels, ski slopes, ski lifts, half pipes for snowboarders, artificial lakes to produce artificial snow, a view on the urbanized valley below, and in summer cows not for the production of milk and meat but for maintenance. All of this is realized only to enable people dressed in special clothes, helmets and harnesses, to throw themselves down again literally as soon as they have arrived on top, using sleighs, ski, snowboards or specially designed, and high-tech so-called freeride mountain bikes. They hardly have a choice. It has to go fast. Even the sky is filled with gliders and para gliders, enjoying the turbulence along the slopes. An aspect of danger, and at least a flirt with a latent death wish should be involved to feel alive, as a faint memory of older myths. “Everywhere it is machines – real ones, not figurative ones: machines driving other machines, machines being driven by other machines, with all the necessary couplings and connections.” Deleuze and Guattari write, and between the different machines there are just couplings and passages, “functioning smoothly at times, at other times it fits and starts”. 1) The Alps are one big Bachelor Machine, a perpetual carrousel that turns the love for nature into a death mechanism.

Innsbruck, the city where I live, is one of the innovation centres of Alpine sports. . The ‘shadows’ of Bruno Taut and his Alpine Architecture are haunting the stations for the funicular railway up to the Hungerburg as glass memories of the shapes that remain after an ice storm. From the Hungerburg a cable car takes people further up to the North Park with the Seegrube and the Hafelekar, just left of which we find a mountain peak called Frau Hitt. According to different sagas, Frau Hitt once was a woman, a giant queen. About why she turned to stone the stories differ but the best-known version tells that she was so stingy, that when a beggar asked for some food, she gave him a stone instead. So the beggar cursed her, turned Frau Hitt and her horse in stone and left her in the place where we can still find her today. In winter she is dressed in snow; in spring she unveils herself to become the unreachable piece of stone she is in summer, alternatingly attracting and repelling us. All in all, we can see the landscape of the Nordkette in Innsbruck as a complex ecosystem, which is defined by man and nature in equal parts. It includes the social, the economical and even the incorporeal and invisible systems of language: myths, sagas and fairy tales.

It is no different with the landscape of La Diavolezza, a mountain and skiing area near Pontresina in the Swiss Alps, named after a beautiful fairy-queen who allegedly seduced young huntsmen who saw her bathing in Lej Nair, a frozen lake at the summit of the Bernina Pass. The huntsmen who followed her disappeared mysteriously and somehow one must expect they were frozen to death. Freezing to death is a known method for suicide, described among others in Jack London’s To Build a Fire: “… Well, he was bound to freeze anyway, and he might as well take it decently. With this new-found peace of mind came the first glimmerings of drowsiness. A good idea, he thought, to sleep off to death. It was like taking an anaesthetic. Freezing was not so bad as people thought. There were lots worse ways to die. . . .  Then the man drowsed off into what seemed to him the most comfortable and satisfying sleep he had ever known. ”2) Suicide is an issue in Switzerland, as assistance to suicide is legal there as long as it does not bring profit. The Swiss Dignitas organization legally assists people who want to terminate their own lives -be it not by freezing to death. For the she-devil haunting Lej Nar, the freezing of the huntsmen was not enough though, and she only left the region when the whole mountain was frozen and covered with a glacier.

Other myths, sagas, fairy tales and literary narratives surround the la Diavolezza area. Thomas Mann’s sanatoriums in Tristan and The Magic Mountain might have been situated here, only accessible by a forgotten branch of the Rhaetian Railway, somewhere high up in the mountains. Paul Scheerbart saw them as logical predecessors of an architecture made entirely out of glass, because they lit the Alps. As such, they were the predecessors of Bruno Taut’s radiating Alpine Architektur, which would crown the mountain tops like an artificial Alpenglühen.3) His protagonists thought they might be healed from tuberculosis here, in times before penicillin was discovered. Most of them died of course.

Who would be better chosen than New-Territories/Francois Roche, Camille Lacadee with their friend Pierre Huyghe to explore this place? Their work –architecture, installations, situations, films, props- is characterized by a mixture of the archaic and science fiction, moving between myth making and pataphysics; schizo-analysis and paranoia. For New Territories, architecture is not just a pragmatic solution for a problem. It is in the extended pragmatism of a specific situation, that its identity and meaning is produced, as a hyper-localism, as Roche calls it, a specific haecceity, an ultimate thisness, as a biopsy of a biotope. This biotope is a part not just of a “deep” or “shallow ecology”, but of something like Deleuze’s flat ecologics, which opens up “the “philosophical subject” to the realm of nonhuman machines, affects, haecceities and what Maturana/Varela call “structural couplings” 4); or Guattari’s ecosophy, which sees ecology as a complex phenomenon which incorporates human subjectivity, the environment, and social relations. 5)

New-Territories produce critical apparatuses in the double meaning of the word. They construct machines that try to reveal disturbances in the systems we are caught up in: misunderstandings, bugs, aberrations, perversions, stutterings. By doing so they also produce critical apparatuses in the sense of footnotes: the critical and primary source material that accompanies an edition of a text. Francois Roche (whose texts sometimes produce almost the same quantity of footnotes as the texts are long, by the way) writes that “machines also simultaneously produce artefacts, assemblages, multiplicity and desires and infiltrate the “raison d’être” of our own body and mind in the relationship to our own biotopes.” 6) Thus the props and McGuffins 7) New Territories make, like the frozen bodies and their miniatures for La Diavolezza, may trigger complex and unpredictable events, which in the end may only exist in our memory or imagination but reveal something about our complex and ambivalent relation to the Alps.



Scenario-Structure-Movie-Texts / New-Territories / M4 / Francois Roche, Camille Lacadee, with Vongsawat Wongkijjalerd and Daniela Mitterberger / 2015

Mac Guffin / Pierre Huyghe

Installation / CHD / Christian Huber Delisle

Support  / LUMA Foundation / Louis Vuitton / Jurek and Ania Starak / Cabana / Gaia Art Foundation / Canton Graubunden

Train featuring  / On-board meal by Rick Owens and Michèle Lamy

Curating / Giorgio Pace Projects


1) OffSpring / Kwai river 2014


In 1927 two young scientists were discovered dead in the Asian jungle.
Siegmund and Sieglinde were brother and sister,
heirs a Scandinavian physician couple known for performing whimsical experiments on their patients. 
It has been hypothesized that they were left by their parents with a ‘forbidden experiment’,
possibly with their own sister.
Neither her body nor the body of their parents were ever found.
But we have traces of their existence in the logs the 2 scientists separately kept.
The soundtrack of the film is using excerpts of these diaries.
They retrace daily actions performed onto the creature,
considered mi-human mi-animal
and the trespassing of Siegmund who might have led to their suicide.


... from an idea by Camille Lacadee & Francois Roche, MindMachineMakingMyths / Producers, Francois Roche, Camille Lacadee, Danielle Willems, Ezio Blasetti, Stephan Heinrich / Feral Child, Syv Bruzeau / Siegmund & Sieglinde, Chistopher Codam, Josefine Kallehave / Scenario Writing, Ian Donaldson / Scenario Storyboard, Yujia Claire Bian / On-Set Props, Johnny Bocquet-Boone / On-Set Hair & Makeup, Dilsad Anil / Computation, Dennis Schiaroli, Annie Locke-Scherer, Phil MarcAntonio, Yagiz Soylev / Construction Bamboo Structure, Dennis Schiaroli, Phil MarcAntonio, Annie Locke-Scherer, Ian Donaldson / Interior/Components, Ehsan Fazli, Alexandra Singer-Bieder, Agathe Michel / Props, Shan (timothy) Sunderland, Johnny Bocquet-Boone, Ehsan Fazli, Dilsad Anil, Yagiz Soylev / Image&Edition, Camille Lacadee / Sound&Edition, Agatha Partyka // Special thanks to Vongsawat Wongkijjalerd River Kwai Jungle Rafts Mon Village & Sam Season


2) It would have been my last complain



“the philosopher, the believers & z’shell-ter” 

What could be the relationship between these antagonist forces, from a strategy of speculation re-questioning the order of discourse, to theology and religious rhetoric, where emerges a figure... from their encounter… from the contradictory zones of the believers and unbelievers?

This interstice, this crack between two dimensions, two interpretations of the world's logic (if there is one...), seems to be a territory with its own systemic values, transactional and transitory, as a fragile monkey-bridge joining the antagonist verticalities and their opposites in a shaping relation between power and knowledge.

For example, in the Indian culture, we could approach the Bhaghavad Gita through a multitude of interpretation (especially on the fight between the two brothers):  from a fairy tale to a religious report, from moralistic speeches to a pitch for Bollywood production, from a sacred scripture to a philosophical and psychological questioning of the notion of identity, duplicity, integrity, consciousness and being.

In the background, underneath of this interrogation, a more crucial question slowly reveals itself: Can we foresee for India, (as is happening everywhere,) the invasion of the autistic over-designed international architecture, following eastern countries such as China, Thailand, Singapore… with no other identity than the personification of post-capitalism meanings, values and designs' sprawling…

Or is India able to create the specificity of its development, by extracting substances from its history, its alive polytheism, its democratic turbulence, its intrinsic relationships between narration and technologies (from sophisticated hand-made to computing fabrication, from the traditional transmission of know-how to programming machines and behaviors).

Could we plan a situationist activism in terms of production, which would combine expertise, recognition of the needs and conflicts, but also lines of subjectivity extracted from the polyphonic listing above…

 “z’shell-ter” / It would have been my last complain

It is a story of the owner of a large library in Gokarna, he collected 100 000 books about philosophy, psychology, some on palm leaves... He is a Brahman...but because of this huge rare collection he has been rejected a long time ago from Gokarna village as an agnostic or atheist collector in a very religious Hindu zone....
The collection has been preserved in a new building on the top of the village by alien fund…which will open soon as an incredible public library (the Study Circle). But at the same time it has aroused the jalousie and hate from village... he commissioned to find a way, to do something or anything in order to recreate the link ...similar to the excerpts Bhaghavad Gita of the Mahabharata, when Krishna helps one brother to engage the war against the other a representation of the conflict of his own self-indulgence…

In this sense, a small structure able to soak trough interstices between the philosopher and the believers…. able to trap their symmetrical self-confidence and self-indulgence, has been completed as equal distance from both locations.  This illusion-catcher is open to be used by the both side…

The Brahmans in charge of temple came and validated this singularity, in charge to collect human pathologies, on one side the beliefs and certitudes of the community, and on the other the arrogant loneliness of the philosopher…

That is a true story and the old man in the movie is the owner of the library... as a report, a “mockumentary” of the situation.  


“A mind illusion’s fab for a ritual’s report”

 The movie title: “… Would Have Been My Last Complaint”
 The shell-ter title: “Devil Trap”

Creative team 
Scenario, production, Camille Lacadee  (movie),  Francois Roche (
shelter) / [eIf/bʌt/c]
Design process, Computation, Ezio Blasetti
Robotic Design, Special effects, Stephan Henrich 
Sound design, Myrtille Fakhreddine (
braïbraï), Devin Jernigan 
Computation, fabrication, construction, Mark-Henry Jean Decrausaz, Cameron David Newnham, Mark Kowalyov, Peeraya Suphasidh
Camera, Suthiwat Yanawiboot 
Storyboard, Pim Jular
Model & props, Pajareeya Suriwong, Nichapatara Swangdecharux
Machinism special design, Cheng Yu Ling
Shooting schedule & organization, Wachira Leangtanom
Making-of, Danielle Willems, Pantira Unarat
Historical research assistant, Natreeya Kraichitti
Community negotiation assistant, Lila Tedesco
Production assistants, Arisa Juengsophonvitavas, Papat Jinaphun,  Javed Godkin Paul de Costa, Nicha Laptaveepanya, Nuthapong Jiratiticharoen, Benjawan Lamsa-ard, Tachapol Danaboonchai, Suthata Jiranuntarat, Yanisa Chumpolphaisal, Jenwit Narukatphichai, Permpoon Rojanasakul

Sri Ganapati Vedeshwar (Study Circle Library), Elias Tabet (Pandrata Circle), Sanjeen SingPawat, Gwyl Jahn

Manjunath & Co, Engineer
Ravi N.Pattegar, Civil Engineer Contractor

3) Although in Hapnea



A metempsychosis…

Of a young scientific reporter, in search for the reasons of the Chao Phraya - Bangkok’s mythical river - ’s flood, and finally engulfed by what he thought he could understand and control. Following his hazardous encounter with an Undine - ageless Thai Vouivre (1)  with trismegistus hair - he is taken prisoner by water, in the body of an hydrocephalus creature (cf image); and hesitates between an endless drowning in the liquid element, and his survival via a suicidal jump in the air...

(1) In Bourgogne (France), the Vouivre (Wyvern) is a chimera, mi terrestrial mi aquatic, living by the eponymous river.

KEYWORDS / metempsychosis - flood, foundering - ‘Science without conscience ...’ (Rabelais) - Bangkok - chimera - scientific reporter, ‘Power and Knowledge’ - Positivism and Empiricism - Undine, Ophelia, Vouivre - hair - invasion, submersion - H2O + O2 / Styx, Interzone, water-air... - flowing, dripping, seeping - respiration,  suffocation - pugged sound, distant...suffocated...

Forecasting logics aren’t any longer able to predict natural catastrophes, those being generated not by natural spasms but resulting from political, industrial and human conjunctions, ... ‘Angry’ biotopes. Gaïa’s furies are countless : Katrina, El Niño,  Jeanne,  Thomas and Nargis, Xynthia, Ewiniar, Fukujima... a series of devastations and uncertainties that our seismographs cannot prevent.

Elements are raging and the gods, always ready to forgive human madness, suddenly seem powerless in front of nature’s infernal rebellion.

This short fiction film gives a double approach to Bangkok’s flood. That of the man who dominates his subject, and soon becomes himself object of this subject.   We have to observe from both sides of the mirror, not in a moralist approach, but with contiguity and ambiguity...

            (first part - the city)

Bangkok is made of human exchanges and road interchanges... a stratification of 4-lane roads floating above an entwined urbanism, of multiple mazes, inter-zones, unsuspected infra-zones... a fabric of phantasms, those the Thai mythology has been giving birth to for centuries, and those overflowing from newcomers’ transit luggage. Bangkok is also a city of water, Conrad’s Oriental Venice... The annual Chao Phraya flood is getting worse every year (30% of the country is under water) and transforms lives and social organisations. Understanding the reason behind this programmed immersion is what brings our young scientific reporter from Scandinavia to land here, in a positivist, materialist, occidental approach..., fed on certitudes about what he will find before taking the time to discover it...

            (second part - the interzone)

However, through these superimposed intertwined concrete wild urban stratifications, a break will open... giving to a place where logic can but abandon him, where the absurd becomes tangible, reality principle. Projected without knowing it nor how in this weeping interzone, mi-terrestrial mi-aquatic, his life becomes inherent to his breathing.. air and/or water... he perceives the two worlds, this time from the one he was supposed to analyse and dominate... he breathes water... Jumping from the aquatic biotope which after all protects him, is our hero trying to recover his lost human nature...? Is he attempting a new metempsychosis...? Is he victim of the illusion that he will be able to choose the form of his new mutation...? Perhaps will it only be a suicide, deprived from rebirth... in the heaving, suffocating sound of the hydrocephalus fish-man who suffers from understanding too well...

a New-Territories production

a film by [eIf/bʌt/c], Camille Lacadee, Francois Roche

co-production,Graham Foundation Chicago, Nouveau Musée National de Monaco, CNC DICREAM

Journalist and Ophelia, Camille Lacadee

Creature, Sarut Komalittipong

Interzone fishermadman, Khun Pan

Set design, [eIf/bʌt/c] studio with Katrin Hochschuh and with FabLab Thammasat University Bangkok

Samustpon Tanapant,Arisa Plapiriyakit, Nonsthorn Srisuphanraj, Trin Chanchaiprasong, Pongsakorn Sarunsatta, Supinda Bannapob, Nonglak Boonsang

Nuttapol Techopitch, Tanakorn Somsuk, Piyanut Songkhroh

Glass blowing, Union Victors Co, Ltd Bangkok

Sound design and mix, Myrtille Fakhreddine

Guitar, Nader Mekdachi

Make-up, Suwannee Surachescomson, Taweesit Mannark

Cinematography, Francois Roche

Edition, Camille Lacadee

Ephemeral direction assistant, Sompot Chidgasornpongse

Production assistant, Hadin Charbel

with special thanks to, Makkasan community of Bangkok

Sompong, Toon, Pai, Tree and Mr Thank You


4) Terra Insola



Once again Daedalus stroke with his technocide genius…It was not enough to have created the monster Minotaur through the trickery of a cow in heat in a mythological zoophilic orgy…Not enough to enslave the bestial child in a labyrinthine corridor and then get him killed by giving the thread to the beast’ sister Ariadne…It was not enough, in his technicist grail quest to sacrifice his own son with solar-melting glue… Not enough to imagine the last deadly bath of Minos… In this opus Daedalus offers us his last incarnation of Ariadne Alone on Naxos… she is between two states…Disembarked…  dumped on the island by the mas-macho testosteroned Theseus… killer of her Taurus half-brother… Waiting for Dionysius the alcoholic to turn her into a multi-procreative uterus… Ariadne is alone… alone with Daedalus, the eponymous abstruse useless apparatus in endless entropic self-obsessed growth… The blanching of Ariadne is visible… in her new-age animal regression living on harvest and masturbationShe seems in peace… asleep… in featherbrained ataraxy…Anthroposophic and physiological exchanges with the machine for only agenda…While Daedalus the alchemist is savoring his dejections metabolized in simple chemical constituent… in spiralized choreographies… In the pursuit of his opera… psychotic…

Terra Insola is a collective enterprise of scientific storytellers, speculative archeologists, regenerative engineering, deviant-mythologists and dirty-physiologist exploring the mythic figure of Ariadne as an archetype of a modern feminist, living within a suspended time between two stages of her life, in the time between her relationships with Theseus to Dionysus, between the macho-man and the alcoholic. She is bound by a daytime routine and her perpetual commitment to a machine, releasing herself from all constraints and achieving self-sufficiency. In desexualizing her innate nature she reaches a degree of serenity and ‘ataraxy’. She lives in an idyllic biotope without context or reference, extracting fluid sap from the eucalyptus tree that sustains her nourishment in an anthroposophic exchange, and mixes her physiological substances (such as urine) with the earth that surrounds her to secrete ceramic for the structure that shelters and interlaces her. The structure itself is a metaphor of an endlessness creation, an architectural process that emerges within an infinite loop. The myriad of spiraling mazes and glazed clay components that wrap her body and her mind are developed by and with a machine tamed and domesticated by Ariadne to extend her desires and construct her needs in a reflexive, affective and contingent agenda. La “Demoiselle”, the nickname she gave to her “productive” pet seems to engage an intertwined, co-dependent relationship that emerges from sympathy to empathy. Ariadne is a woman divided by the pathology of multiple personality disorder, haunted by the echoes of her mythic past and her involuntary landing within the Schengen trap. When she lands, the barrier of Schengen was already since a long time considered as a fortress. Nobody  remember exactly when this fence became for European citizen their own jail… inversing the preliminary reason of its constitution, to protect them against the world… but appearing contradictorily as an historical illusion. In this a political and ideological island, Ariadne appeared with two identities, the one who escapes from inside, embracing with her friendly “Demoiselle” a topological inversion, as an infinite fortressless animism, to protest emotionally against the contradiction, the absurdity of the situation, and the other trapped in a postindustrial location, crossing zombified human hostage of alienated Fordism tasks rhythmed by mute, dumb machinism. Chania-Naxos becomes the location of Ariadne’s own schizophrenia simultaneously releasing and congealing herself from her state of limbo. The Location of the event is an existing “fortress” in Chania, an abandoned Venetian walled zone of 15 meters high in the middle of the city, inaccessible… Ariadne takes refuge inside this no man’s land, ignored by the people living around… there, she could re-invent, as an utopia the routine of her freedom…but just in the middle of the European Union “Protectorate”.

Speculative Archeologists (Computation)

In the life of an archeologist there is transient sense of pride in the moment of recovery crumbling remnants of the past. The endless journey of digging in the mud can only be endured by this fleeting hope of conquering a bit of knowledge of what we might have been. This momentary joy is mixed, nevertheless, with anxiety and deep melancholy. There is a sense of emptiness to find a piece, a fragment of a whole object which is invisible. There is emptiness because the empire to which we have laid all hope is nothing but a powder of formless ruins and we are only left with fossils of a triumph that cannot be reassembled. Fragments of found knowledge are tropes of a lost empire, of something that might have once defined us and as such we pretend to stem from the illusion that this ancestry still delimits us. The fear of reassembly, the fear of projection marks the absence of one truth and it stems from another anguish, that of changing the arrow of time. In this locale, this distress is expressed through the practice of absolute preservation in the illusion that there is a truth in the past that cannot be transformed, regenerated or mixed with other time zones; it cannot participate in a process of experimentation, a process of imagining the possible fluid space between the found pieces. The pieces thus float, suspended between voids in a canvas of a forensic analysis. What is the crime though? The crime might be this void, our inability to cope with a stretched notion of time between the past and the future; it might be the unconscious denial of the ego to bridge a gap between the past and the present as a peculiar defensive reaction against the fear of the unknown, manifest by projecting the future not as an entirely new course of events but as an organic thread linked to past glory. Preservation might be a pathology projected in our unquestioned consent to abide to linear time, to a phantom of a truth that no longer applies to who we are.

Speculative archeologists venture to imagine the projection of past piece and the glue between them as they reflect on us today. They unearthed forms of the labyrinth and through generative form-finding processes, they forecast the glue of the prison that now envelops us. It is a tree, inside a spiral, inside an inaccessible plot of land, inside an island. The labyrinth allows them to project and experiment our sense of nested entrapment in multiple levels reinvigorated from found-symbols of ancient ruins and artifacts. The experimental archeologists used the eucalyptus tree as both an impetus and a constraint of their design, adaptively retrofitting the progress of their archeological dig to the ancient artifacts and future findings of the site.

The process of reinventing the space of the labyrinth is a process of resynchronization with contemporary scientific tools, using algorithmic functions of incremental adjustments stitching pieces of found knowledge and forms. Like Roland Barthes spoke of the Argo ship, as a carrying vessel whose pieces needed to be substituted piece by piece as the Argonauts were traveling, algorithmic functions are incremental rules, none of which are individually spectacular or unique. Rather, they overall produce, through a sum of small insignificant details, a spectacular topography of envelopment. Although our spiral assays to discover the glue of a given setting, the manner in which this shift is accomplished numerically, pixel by pixel reveals an infinite number of new possibilities, in the course of the morphological character being established. This is a complexity produced not by genius, inspiration, determination or evolution, but by a modest action of simple substitutions which cannot be caught up in any mystique of genuine creation.

Regenrative Engineers (Robotics)

Ariadne’s decoding of the labyrinth convicted Deadalus inside the omphalos [ομφαλός] he created. Such was his fate for reconstructing a physical vortex that would eat and digest all travelers. In effect, the famish Minotaur was only a decoy to the hunger of the labyrinth itself, the space of a black hole with such gravitational pull that subjects were bound to aimlessly drift, disintegrate and ingested by this spatial machine. In captivity, Daedalus relinquished his mental aptitude to generate ideas, unprecedented and unmixed with anything extant in the physical world -parthenogenesis [παρθενογένεσης]; he became an avid material collector, a dirty bricoleur that would lay his hands deeply in the soil, ravage pieces of the walls he once built with pride, scavenge fallen feathers of migrating birds and interrogate their newly formed relationships. His deliberate mental blockage was an operative self-containment, barricading reception of any perceptual input from the exterior world; he shut down environmentally in the vortex while experiencing a deep regression, drifting through the malicious walls he had designed. The territorial demarcation of obstruction-markers forced him to invent mechanisms and material organizations that would not have been probable outside the penalty of his own omphalos [ομφαλός].  Rather than generating ideas as a type of virgin birth, Daedalus was now driven by the desire for transforming and re-tooling existing physical resources, feathers and wax. The myth, outsourced as common knowledge, tells us that the failure of his son Icarus to fly above the sea and his dramatic fall and demise, indicates not only the failure of Daedalus’ endogenous [ενδογενής] machine, but most significantly the hubris to surpass human nature; a hubris which was symbolically penalized for not respecting the inherent limitations of human power. This precise hubris though, the will to create an impossible machine, made of soft pieces, fragments and fluids, even though it would most likely fail, is what makes Deadalus a regenerative engineer, a handler of humours contrived by the syndrome to produce a machine imbued  the vitalism of a digestive stomach. Daedalus’ endogenous [ενδογενής] machine was not only an adhoc assemblage of fragmentary physical objects of its own locale, but was also in direct co-dependence with the extended biotope; it was a fragile being in synch with the ambient ether [αιθήρ] and so its malfunction was only proof of its vitalism.

On one end, Deadalus’ action is indicative of a fractured activity of artisanship, of craftsmen that work as a group in an organic co-dependency with the locale.  As is known, guilds [συντεχνία], coalitions of workmen with a dissolved sense of agency, were lost in industrialization. The fordist machine tuned to the determination, efficiency and optimization of production replaced the worker’s anomaly in a series of repetitive binary tasks. What is production though now, in a world of DIY construction kits, home manufacturing personal 3D printers and a Wikihouse with open-source plans that can be personalized, improved and updated anywhere? Benjamin’s Work of Art in the Age of Mechanical Reproduction is reverting to a robotic handcrafted artisan tradecraft, now forgotten and ignored. It is imbued in the automation and mechanical ingenuity of a three-dimensional printing robot that extrudes ceramic matter nourished by Ariadne’s hand, the feeder of the machine. Reviving obsolete objects and instruments of fabrication, the regenerative engineers restore materials and technologies of a mythic past.

Like the labyrinth itself, our regenerative machine, is a giant omphalic stomach. It is connected with its feeder and its biotope with umbilical cords that cannot and should not be cut. Our robot is a digestive device of the physiological substances in its protracted fluid biotope; all substances, fluids and humeurs are ingested and excreted by the robot in a process of perpetual exchange. The stomach is a recipient of vital significance that processes input –food (clay mixed with urine) – into output –excrement (ceramic clay). It is a feeble region of the abdominal inner side, deprived of muscles or other solid substrata; it is thus particularly malleable, tending to deform due to inward pressures, such as excessive food input, weight augmentation etc. Sometimes, the robot digests, while others it vomits; it is as Deleuze would argue a body without organs, a system of connecting vessels where certain amounts of energy are channeled from one location to the other yielding deformities, swallowed regions and outgrowths. The hyper-stimulation of its digestion may in some cases result in the atrophy of normative organ functions. In this sense, the vitalism of the robot marks a systemic shift from the body’s hard anatomical components to its soft tissues and fluids; this shift is expressed in such symptoms as the movement of the smooth muscle fibers of the vascular walls, the functioning of glands, the process of tissue nourishment and other intra-physical regulations which feed of other animes, bodies and fluids of its surrounding. The phenomenally robust machine is no more resilient than an omphalos and the anguish of connection or disconnection to life.

Deviant Mythologists (Research)

For many the Minotaur was a beast that insatiably devoured innocent human youth. It was a vulturous predator, a monstrous ‘semi-species’ occupying the core of the labyrinth, eventually defeated by Theseus’ insurmountable bravery and Ariadne’s navigational intelligence. The Minotaur effortlessly travels to us today as the representation of externalized power unwillingly imposed to the individual. It is the banks, governmental authority, legislative injustice, the fabricated sensation of future progress and the utter lack of a propagating political ideology. But is Minotaur solely an alien villain external to the subject of narration? Could have it been eagerly waiting to be killed? Devoid of origin, ancestry and purpose, even devoid of the ability to recognize what to eat, the Minotaur was half-human condemned to partially eat a part of him with every bite. He was already in a process of disintegration before his death, which was symbolized in the myth as punishment. It might then be that the Minotaur is not a foreign anti-hero, but an inevitable part of our own existence. What have we become after years of disalienation [αλλοτρίωσης], from absorbing and digesting the artificial food of linear progress, enmeshed in the game of power and Darwinian evolution of society and power structures? It is easy to say that we can kill the Minotaur as if it is outside of us. Its slaughter, its straightforward killing is only naïvely revolutionary. You would rightfully demand: we should kill the banks, the governments, the institutions which are sourcing corruption. You would say, it is not our fault that we are trapped in a crisis, in the labyrinth of Shengen, but yet, we nurtured the Minotaur and became him in the incremental process of accumulating its features. In the myth, Ariadne is the cunning weaver, the one able to navigate the convolute canvas of the labyrinth and reach the source. Though her action, nevertheless, she is killing a part of her and is condemning herself to disown her mental skill. She sentences herself to a material life, one where she only needs to harness and control the prime matter of her body, the products of her ingestion and excretion in an extended timeless biotope. In a relentless physiological loop, she becomes an instrument of a trap she laid out for herself; her own survival. It is a closed world, where she is a voluntary prisoner of her own intelligence.

The story of this voluntary entrapment is a regenerative myth, extruded from Ariadne’s myth as a resourceful weaving semi-deity. The story is not a fictitious narration but a stretched reality blurred in time. Through the story, us, projective mythologists, have researched narratives, characters and artifacts used in Ariadne’s mythic daily life to perform daily tasks. Her tools were studied and regenerated, redrawn and reimagined within the extruded reality of our projective myth. In Ariadne’s future her instruments include a knife for extracting sap from the tree and mixing the substance with water for nourishment, a knotted mechanism for clothing as a time machine, and a device for urinating in an endless loop between her and the biotope. These objects were informed by ancient notions of pragmatism, and imbued by historical and mythological allegories in an act that is a reading, a re-writing and a re-invention of history. Ariadne’s story narrated through the usage of these tools is not about an innocent struggle for survival; it is a story to seize the tools to mark the world that has marked her as the other.

Scientific Storytellers (Movie/Making Of)

When Aristophanes was summoned in Plato’s symposium to speak of eros [έρως], he reverted to the root of human nature, the original natural bodily reality of three sexes: the male, the female and vanished entity of the malefemale [αρσενικοθήλυκο]. The latter was the strongest and fastest of all, combining attributes of both the male and female. Its appearance was whole and round with a back in all sides, four hands and legs and two faces. The creature was not erect and would never stand vertically to the earth. It did not walk, but tumbled after taking a spherical shape. Its immense power and integrity became a threat to the gods who were assaulted by its strength and intensity. Zeus then invented a machine, destined not to eliminate the third sex, but to fade its supremacy; he sent a lightning to split the sex. As soon as the creature was fractured in two, each half would run with passion to the other half and put its arms around it, because the desire for reunification was greater than hunger or even survival. So according to Aristophanes, eros has been inherent in human nature as the tormented journey of reunification and synthesis of original descent. Eros attempts to make the two more than one and thus remedy the original shortcoming of each of us as a split symbol. Aristophanes’ duality though was displaced later in the Symposium by Diotima’s version of eros as a multidimensional diaspora [διασπορά] of the body in floating fragments; a fractured ego looking not simply for the other, but for pieces of one’s self.

In her Odyssey between Theseus and Dionysus, Ariadne experienced her body in this reality of diaspora, a dispersal and innate incompleteness so profound stemming from the absence of the other. She was lost inside the circuits of her own lack. And yet this was the same woman that decoded the circuits of the most complex space of all times and defeated Deadalus’ ingenuity by unfolding the yarn [μίτος] out of the labyrinth. Driven by necessity to complement her body and heal its defects, she invented tools and supplements of daily praxis as inherently erotic activities. In the story, Ariadne is partially portrayed in a timeless zone, where  she is bound in a daytime routine, desexualizing her nature, inserting herself in a consistent repetitive loop. She extracts sap from the eucalyptus tree that nourishes her and mixes her urine with the earth that surrounds her to feed the robot that then secretes ceramic and builds a shelter that envelops and labyrinths her. Through her choice to engage with these tools, machines, the robot as her “productive” pet, Ariadne replaces her need for the xenogeneic [εξωγενές] other male counterpart and disperses her desire in a relentless allogeneic [ενδογενής] routine, a series of actions that bond her with the biotope, the excretions and ingestions of her body and the earth in an infinite loop. While the xenogeneic is that which is derived from another species, the allogeneic is that which is formed from within a species as that species evolves to become alien to its origins. As an extension of this mutation, we can view major problems in contemporary culture as allogeneic, meaning problems that were unexpectedly created via alienation from the root.

This is not nevertheless a mechanical kind of love. In the case of the ‘mechanical’, eros is directed to the ‘other.’ In Ariadne’s case, eros is directed towards the ‘self’, as identical parts of the body are being cultivated and grown with care in order to fuse with the original body and not be distinguished as external elements. The erotic desire here, not merely from a sense for completion, but also from a deranged excessive desire to duplicate the ‘self’, to refine it and prolong it to eternity.

The narrative, written from both an internal and external perspective, told by scientific storytellers strives to encapsulate the chemical makeup of Ariadne’s character of Ariadne, separated by two seeming-realities. The narrative followed the pathological and schizoid nature of Ariadne’s multiple personality disorder through neurological and emotional testing, exploration and analysis.

Ariadne’s schizoid existence is a byproduct of our social reality that suggests a new set of material, physiological and existential relationships between the ‘I’ and space. Her disassembled and reassembled self is not defined by the fixed instance of her birth, and her upbringing into the world. Instead, she holds fractures and parts of herself together and mutates, in order to survive. Ariadne refutes the wholeness of her body and herself, even ‘wholeness’ as a generic idea, and proposes in its place biotic components -fragments- that can be interfaced and interconnected in endless ways.

Dirty Physiologists (Fabrication)

“Of bodies changed to other forms I tell;” wrote Ovid of found myths, deformed to feed one another in a perpetuum carmen. Still, there was nothing new in the idea that the universe was in continual flux. This was the teaching of Heraclitus and Ovid’s admired Lucretius, following in the steps of his master Epicurus. Material transitions provoked wonder and bewilderment throughout history; they invoked an incessant drive towards infinity, through the perpetual transformation of matter. Ovid’s myths promised that matter does not come to an end; instead it changes state. Infinity was then rooted in the alchemical, elemental and metamorphic power of materials and their mercurial effect on another, whether they are chemicals reacting to moisture or substances or phenomena-including sound and other encounters with the temperament of their makers.

As such, money might be dehydrated filth that has been made to shine. This is Roman Emperor Vespatian’s saying Pecunia Non Olet (Money does not smell), who taxed the usage of public urinals so as to expurgate the dishonorable act of defecation. In the endless loop of material formation, the affinity between dirt and profit is vital; it is visibly witnessed by the number of alchemists in their compulsive attempts to converge shit to gold. It is, however, with Freud’s explanation of the anal-sadistic phase in psychosexual development that the child’s passion and affection for his feces comes clearly into view; here is the first instance of the subject’s creation out of the materials in his own body. In this sense, the pleasure in the clean object becomes a cover for satisfaction of the most primitive anal-eroticism. Shit and urine are ejected from the body and rejected by the psyche, whereas money is introjected by the body and accepted as a highly desired form.

If dirt and profit through are of value to our hypothesis, it is due to the fact that both states entities allegedly derive from the same prime matter in an ongoing recycling process. Materials are not viewed as concrete objects, constituted out of say metal or paper, but rather as a disguise for a sequential set of other substances that brought them into existence; in other words, shit and urine undergo a serial transformation assuming different material states all the way to objects of value. The purpose thus is to discredit the significance of objects and support that materials exist merely in stages, while they absorb qualities from their previous stages: mud is shit deodorized, sand is mud dehydrated, pebbles are sand hardened and 3d printed beads are pebbles unearthed.

It is in the wonder of these conversions that the world of dirty physiologists find pervasive fascination. Every material may exhibit several states, so that it exists only in fusion, which speaks of the heteroclite [ετερόκλητος] and temporal nature of changing bodies. The term “fusion” marks a number of slow formation processes, such as gas blow piping, glass blowing, metal heating, ceramic baking, soap bubble blowing and most significantly the methodic evolutionary character of the recycling process . These slow processes do not captivate the mind’s eye merely because of their actual final products, but also because of the intermediate stage of blowing, cooking and baking, where a material is so soft and malleable that it could potentially assume any form; it is left to blower’s direction and temperament to mold the material to its final figure.

Material is then only a “vortex,” a “threshold,” or an “ideogram” that accumulates meaningful associations between things, as for instance mud absorbs the qualities of its previous feces stage and carries within it a fecal history. Each material “stage” is defined by a threshold of information bits and their interrelated bonds. As an example, in stage of dirt, information is so finely grained and scattered that it cannot form bonds in identifiable patterns. Essentially dirt is information is so unrefined and randomly grained that it is “interrelational loss” or in-cohesion between bits and particles that defines its degenerate condition. Accordingly, characteristic subtractions – such as the subtraction of odors on the passage to mud, of wetness on the passage to sand, of softness on the passage to pebbles and of earth on the passage to objects – can be read as a specific type of constraint that becomes a synthetic parameter in the bonding of information. The subtraction of qualities from predeceasing substances creates new materials.


Δημιουργική ομάδα Terra Insola αρχιτεκτόνων, κατασκευαστών, συγγραφέων, μηχανικών ρομποτικής,σκηνοθετών:

Kαθηγητές  / Crew: Camille Lacadee, Danielle Willems, Lydia Kallipoliti, Francois Roche, Ezio Blasetti, Stephan Henrich, Andreas Theodoris, Luis Felipe Paris, Johnny Boquet-Boone, Cecil Barnes, Danielle Griffo, Hasti Valipour Goudarzi, Gary Edwards, Martin Lodman, Maximiliam Lauter, Melodie Yashar, Shalini Amin, Pierre Bourdareau, George Avramides, George Louras, Jonathan Requillo, Raquel Sanchis Ulacia, Robinson Strong, Kim Se Hyun, Lorenzo Villaggi, Leonidas Leonidou, Αλεξάνδρα Σαράντη, Λεωνίδας Λεονίδου, και. Τοπικοί συνεργάτες υπήρξαν οι Γιάννης Αποστολόπουλος, Άγγελος Θεοδωρίδης, Ματθαίος Λιοδάκης, Γιάννης Παπατάκης, Δημήτρης Μαριδάκης, Νίκος Γεωργιαδάκης, Αθανασία Ζώτου, Μαρία Φουράκη, Δημήτρης Ξενάκης, Αχιλλέας Παπακώστας, Θοδωρής Παπαδουλάκης, Αλέξης Κουβαριτάκης, Γιώργος Καλλιγέρης, Αλέξανδρος Βαζάκας, Ζέτα Χρυσαφάκη, Αλέξανδρος Μηχαηλίδης, Αναστασία Τζιγκουνάκη, Νατάσα Αποστολάκη, Πετρουλάκης Αντώνης, Παντελής Πετσετάκης, Παναγιώτης Σημαντηράκης, Δημήτρης Μιχελογιάννης, Κυριάκος Παπαδάκης, Ρούλα Οικονομάκη και η ηθοποιός Κική Ριζου.

Partner / Συνδιοργανωτές: Columbia University [GSAPP, Graduate School of Architecture, Planning and Preservation], ΣΑΔΑΣ ΠΕΑ- Τμήμα Χανίων, ‘Eνωση Ξενοδόχων Νομού Χανίων, Οικονομικό Επιμελητήριο Ελλάδος-Τμήμα Δυτικής Κρήτης, Περιφέρεια Κρήτης- Περιφεριακή Ενότητα Χανίων, Πνευματικό Κέντρο Χανίων, 28η Εφορεία Βυζαντινών Αρχαιοτήτων, Περιφερειακό Ταμείο Ανάπτυξης Κρήτης

Sponsors / Χορηγοί: ANEK Lines, INKA, ΕΤΑΝΑΠ, ΒΙΟΧΥΜ ΑΕ, Αμπελώνες ΚΑΡΑΒΙΤΑΚΗ

 Special Thanks to Roula, Soula and Yorgos


5) Beau-Strosity



Is set in the slum of a BKK megacity in which all assumptions of complex political cultural structures coexist in continual violent struggle. What the journalist discovers is an insidious infiltration of an incestuous phenomenon, a structure that is an embodiment of the relationship between mother and son that amplifies the intensity of their co-dependency. As familiar boundaries decay we can no longer take comfort in normative filial relations. What the film discovers is not an anomaly but a measure of an emerging circumstance within the city, a petri dish seething with anamorphic potential.

The revelation of an undiscovered paradigm.


Producer(s):  New-Territories (Francois Roche, Camille Lacadée) + RMIT

Director : Anastasiya Vitusevych

Writer(s) : Dan Schulz, Eleanor Tullock                                 

Lead Cast : Ad +Chanja

Supporting Cast :Crystal Song Choo Jing, Dan Schulz, Vivian Kon Ching Sian

Cinematography : Lila Athanasiadou

Set Director(s): Ada Umgofia, Crystal Song Choo Jing, Dan Schulz, Eleanor Tullock, Loo Yew Hann, Sam Verschoren, Vivian Kon Ching Sian

Sound Director : Loo Yew Hann

Casting Director : Tree

Security : Crystal Song Choo Jing

Blood effect : Eleanor Tullock 


6) La Passe

Bordeaux / Movie / Design: Camille Lacadee  

La passe / 10 mn

Un baquet d'eau au cœur de la foret des Landes, manufacturé via les matériaux mêmes qui en constituent l’écrin, le biotope...

Cette pièce d’eau a été conçue pour transférer ‘la passe d’une psychanalyste de renom dans la zone du visible, du tangible. De l’arbre de son enfance, lieu de ses premier ‘émois’, en passant par celui d’un conflit de voisinage qu'elle abat sans état d’âme comme pour effacer le premier de sa mémoire, jusqu'à ceux de cette foret qui viennent recueillir à la fois les eaux des pluies et les épanchement de ses affects, tel un ultime transfert… théâtre de ses refoulements… pour y nager la brasse, à contre courant… 


7) Feral Child                                      

Movie / Design: Francois Roche / Camille Lacadee  / 10 mn

Performance: Syv Bruzeau

Collaboration: Jeremy Djaffer / Tiziano Derme

Scenario / Scene 1

We were not able to extract the feral child found in the deepness of Singapore Jungle without the minimum environmental precaution. The group of scientists in charge of her re-adaptation decided to avoid jumping into a Mowgli syndrome, and instead placed her in a human education settlement. Those fragments of Bamboos forest are literally the biotope in which she survived.

She has trouble learning to walk upright after walking on fours all her life, and displays a reasonable lack of interest in the human activity around her. She seems mentally affected and has almost insurmountable trouble learning a human language. But even with this high degree of acculturation, she is wildly prepared to survive in a hostile situation.

She is a female, of around 20 year old. We are not in the situation to trace her provenance and real identity, but her DNA is showing a kind of creoleness, being 40% Caucasoid and 60% Mongoloid.

Even if her behaviour seems to be plaintive and fearful, even if you can hear whispering sounds reminiscent of jungle animals groans, she is safe.

Please do not disturb the feral child, and do not feed her. We are not in a zoo. She has to be respected as the last wild anomaly in Singapore cultural and societal environment.


8) Deamon in Venice

The spectators enter the garden, shoes off, walking barefoot in the full-moon night, surrounded by their shadows.... They proceed inside an obscure structure, through an aggregative density that seems paradoxically weightless, and soon leads them to a deep sinkhole, as the perimeter of the drama, where the play could eventually start.

In the pursuit of Thomas Man’s novel, we devised an apparatus trying to contain the invasion of the epidemic disease, the Cholera, trying to repulse the wind of Death and its somberness to preserve the particles of life scattered behind the illusory protection wall… Wind and water are never considering the efficiency of human obstacles as impassable; their natures are untamable, driven by encroachment, overcrossing, overflowing ... The flooding of both Bangkok and Venice is a real and non-contingent fact... here despite the awkwardly dismembering landscape, with its lost whiteness, its lost paradise...

The pool was a pool, not any more…it turns into a deep, bottomless sinkhole, engraving and digging the ground to find the door to hell…. while the moonlight observes the “dance macabre ” of the daemon in the Siamese twin sister of Venice, Bkk.

with Jitti Choregraphy and Nutthapong Jiratthiticharoen / Natreeya Kraichitti / Thanaporn Lam / Pisut Phumchaosoun / Jariyaporn Prachasartta / Sitthiwat Suddhijaru / Bahnfun Chittmittrapap


9) Altered State

Mind-machines with Carsten Holler / Design: FrancoisRoche & Camille Lacadee

Collaboration: Katrin Hochschuh

It’s about the choreography of several dancers, several mind-machines, disarticulated and in disequilibrium, petrified in four different positions, spraying some cloudy substances, top down very dense foggy matter, disseminating a random cocktail of physiological alterated states (euphoria, melancholia, hysteria, phobia, phyllia, joy, delusion, delirium, anxiety, amnesia…) to disrupt the perception, for a drift in a synesthesia multiple and heterogeneous sensations.

The physio-zones are an initial preparation, a shamanism ceremony to reach a point of emotional delivery. It’s engaging an emphasis of the acephalous body, released from its rational jail and limits, by rationalities, as a strategy to reach a line of subjectivities escaping, crossing real and unreal, logic and illogic, through the viscera, the arterials, and the headless desirable machinery of the human body.

The cloud is using chemistry synthesis of human Pheromones ANDROSTA-4,16-DIEN-3-ONE (A5) + ESTETRAENOL (E1)  


10 ∑ days

(The RAT and ... )


Props / Movie 6mn / New-Territories-RMIT is about the compulsion that moves the body towards animality... an orifice that summons... it speaks and promises absolutes... it becomes the impossibility to resist the call of the embassy, the call of desires…

The situation is of dialogue, an exchange between a Diogenean human and a wild rat; caught somewhere in between. Inherent in this situation is a paradox, that by longing to identify with the wild, one is inadvertently tamed, caged in an opposing intention.

The urge to consume, the hunger for mutualism in its entirety. The (il)logic imposes to be repeated 


Produced by New Territories  / François Roche & Camille Lacadée

with RMIT University  / Gwyllim Jahn

Main Cast (actor) / Natalie

Scenario / Agatha Partyka / Lynda Nguyen / Mark Kowalyov

Editing / Agatha Partyka / Lynda Nguyen

Direction / Mark Kowalyov

Cinematography / Grant Trewella

Sound  Design / Agatha Partyka

Sound Production / Daniel Balacich

Morphology Design / Jack Mansfield-Hung  / Victor Wong

Morphology Construction / Zaid Audi B Mohd Khorie / Victor Wong / Jack Mansfield- Hung

Rat Cage Design / Christopher Ferris / Victor Wong

Translator - Local Liason / Khunakorn Terdkiatkhachorn

Fabrication / Zaid Audi B Mohd Khorie / Khunakorn Terdkiatkhachorn / Jack Mansfield- Hung

Fabrication Assistants / Victor Wong / Christopher Ferris / Mark Kowalyov / Daniel Balacich / Grant Trewella / Agatha Partyka / Lynda Nguyen

Lighting / Victor Wong  / Zaid Audi B Mohd Khorie

Costume + Make Up / Lynda Nguyen

Props / Jack Mansfield- Hung  / Lynda Nguyen

Supporting Cast (actors) / Christopher Ferris / Jack Mansfield- Hung / Lynda Nguyen / Zaid Audi B Mohd Khorie / Khunakorn Terdkiatkhachorn


11)  WHATEVS~4~EVS    

(MindMachineMakingMyths / New-Territories / UPenn studio)

Exhibition Bridge Gallery / 18 Oct – 6PM / Chareon Krung 51 (in front of Sathorn Unique) / Bangkok   

The picaresque Soliloquy of a banished Arbitrista[1] jester[2]

 (from the 17th century Spanish Court to Bkk Sathorn Unique[3], there & tomorrow[4])

[1] . The Arbitristas were a group of reformers writers in 17th century Spain. The arbitristas were concerned about the decline of the economy of Spain and proposed a number of measures to reverse it. Among other that immigrants should be encouraged to re-populate Castile; that fields should be irrigated, rivers be made navigable, and agriculture and industry be protected and fostered.

[2] . The Jester Don Diego de Acedo is one of a series of portraits of jesters at the court of Philip IV of Spain by Diego Velázquez. The breeze that blows through these paintings, overwhelms the tension and anxiety of the Spanish court, transforming it into a carnival freak show, a comic representation of the human condition… wounded, distorted, and blemished…

[3] Sathorn Unique BangkokThe Sathorn Unique is a 49-story building, located in downtown Bangkok, built in 1990. At 80% construction, it was abandoned in 1997 (Asian financial crisis) and never completed. Locals insist the skyscraper is haunted and call it the "Ghost Tower".

[4] There & tomorrow / here & now / Jetztzeit was translated as “here-and-now,” in order to distinguish it from its polar opposite, the empty and homogenous time of positivism. Walter Benjamin uses this term in his ‘Theses on the Philosophy of History’ to describe a notion of time that is ripe with revolutionary possibility, time that has been detached from the continuum of history. It is time at a standstill, poised, filled with energy, and ready to take what Benjamin called the ‘tiger's leap’ into the future. It isn't naturally occurring, however, and takes the intervention of the artist or revolutionary to produce it by ‘blasting’ it free from the ceaseless flow in which it would otherwise be trapped.

New-Territories / Francois Roche, Camille Lacadee and Vongsawat Wongkijjalerd, Amaury Thomas

Credits (including UPenn members) Actor / Nui, Scenario crew, Jacqueline Martinez, Walaid Sehwail, Rhea Gargullo,Peter Wildfeuer, Film direction / Jacqueline Martinez, Cinematography /Walaid Sehwail, Audio / Rhea Gargullo, Lighting / Peter Wildfeuer, Scenario/script development / Jacqueline Martinez, Peter Wildfeuer, Art direction-props / Rhea Gargullo, Walaid Sehwail, Hair/makeup,  Aienne, Torr, Production assistants / Billy Wang, Michael Royer, Hyeji Yang, Geongu Lee, Grotto design / Michael Royer, Grotto fabrication / Billy Wang, Michael Royer, Hyeji Yang, Geongu Lee, Grotto installation / Billy Wang, Michael Royer, Hyeji Yang, Geongu Lee, Jacqueline Martinez, Walaid Sehwail, Rhea Gargullo, Peter Wildfeuer and with TA / Devin Jernigan


12)  Emet (2015) / RMIT

Symmetric pathologies / strikethrough life and death / tads and dotard facing their suspicious candor and instinctual obscenity / cruel laughter / sardonic growling // no words / ignorance on the verge of Alzheimer / sneering with borborygmi / gobbling and snoring / slobbering / drooling through identical reflects in the mirror / a multitude of Janus double-face // projection / illusion / the escape from those two states of sarcasm / in the darkness of the street / man faces me to get the backlash of his creation / to articulate his ‘reason of being’ / time-break of god’s existence // the perpetuation of the scene of the crime, without hope / Pandora Box / and ‘you think it’s funny’…

(In the versions of Chełm and Prague, as well as in the Polish version of Brothers Grimm, Golem is inscribed with Hebrew words, such as the word emet (אמת, "truth" in Hebrew) written on its forehead… but being deactivated by removing the aleph (א), from "truth" to "death" (met מת ="dead").

Credits: New-Territories / M4 / RMIT / with Camille Lacadee, Francois Roche, Gwyllim Jahn, Vongsawat Wongkijjalerd, Daniela Mitterberger / RMIT architecture school: Dechao Sun, Marc Gibson, Jordan Wells, James Pazzi, Danica Yee, Judy Junyan QI, Louis Nuccitelli, Tian Zhen, Bowen Nie, Lucian Clifforth


13)  concrete(I)land (2015) /

(bkk mαkkαsαn)

a ‘post-culture’ spasm

The Bowl of mad-mud

In the muck-dirt-turd / human cradle to cradle loop / where substances meet in all their states of chemical transformation / from the fruit of the earth to the rejection /

Human Matter…”where it smells shit, it smells human” to quote Antonin Artaud (‘Là ou ça sent la merde, ça sent l’être.’ Pour en finir avec le Jugement de Dieu, 1947) from body metabolism…. As a cycle… of rejection – recycling (physical context), extracted, pumped, remixed, extruded from the open sky sewage ground below the pilotis… emerging on the above level, the visible level.

Robotic production from recycling matter, first antagonism.

The Ghost Content

Something was lost… the relation to the initial system of knowledge transmission… in this ‘Idiocratic’ post-capitalist regime … no one reads no more… and language has been reduced to a daily life commerce… banality and merchandising.

The people of the Slum, because of their interzone, lawless situation, can re-question this social, political and cultural Alzheimer global XXI century phenomena… via a transgressive line of escape.

We derive, we drift within the situation… to shift this relation to knowledge (rapport au savoir) in a subjective, immersive mode…

In the library, people aren’t expected to read… but to sniff the ashes coming from the books, targeting a travel ‘shot’ to a subculture cinematographic adaptation of the book.

Book readers are sniffers, disseminated in the Slum in a subjective immersive ego-trip, in the pursuit of the Selfie, a self-portrait in Alchemist mode.

At the opposite of Pro-Bono enterprises usually intervening in the slum to promote politically correctness and right consciousness…  

Concrete[I]land / short film

 from the book of Ballard /

Mαkkαsαn, a kind of ‘Alpha Ville’, as the fear of word’s disappearance, now a fact, with the emotions that came with them, as the impoverishment of the means of expression, as a displacement perhaps and yesterday’s world might be gone and dead. The rise of the selfie as the only way to witness one’s life. To take it and put it there, nowhere really, directly, with no one acknowledging it. The absence of meditation, permanent obsession of self-portraiture, the obscene display of solitudes.

The short film is about 2 worlds (upper-condo/highway and below-slum self-organization). Below is the genetically diseased autarky, island of degeneresence, living among their rejects, in the acceptance of society’s garbage, where the social contract is a constant work in progress, unstable. 

What is burned though is our memory, our culture in the form of books. The written world is sinking in the canal slum water, putrid, smelly-belly. While North Pole polar bears change their gender membership to increase their reproduction probability in the melting-ice age, here in Makkasan, people are developing by-product of substitution, a kind of cultural methadone, of easily-accessible stirring stifling barely-bearable immersive-emotional self-suggested shots.

Robotic voice process / The shelter components are done through real sensor interface robotic system… where ‘nick’s reading of the book affects the trajectory of the nozzle (voice intensity and timber) / Microphone + Sound voice recognition + RSI-Kuka = seismograph movement of the robot linked to frequency and amplitude of the sound sinusoidal curve)/ & the shelter petrified the Books reader’s voice … witness of a lost paradise (Milton)…

 A positive entropy engaging a counter movement in the negative mode, as the first Thermodynamic law in the Anthropocene balance ?

In Bangkok 2015 with Michigan-Ann Arbor / M4

Credits: New-Territories / M4 / Michigan / with Camille Lacadee, Francois Roche, Vongsawat Wongkijjalerd, Daniela Mitterberger / Michigan architecture school: Po-Jen Huang, Te-Shiou Chen, Jakkrit Jannakhon, Linnea Cook, Salam Rida, Min Zhang, Weiqi Zhang, Stefan Klecheski, Beth Carliner, Peter Sepassi, Tracey Weisman, John Yoon


14)  zeitGast (2015) / Innsbruck

I'm the unknown Ötzi companion / lost in the whiteness i could spoil / for limited time / preliminary condition to rebirth everyday / / to make tomorrow possible / daily animal instinct / night psychosis /// an impulse to make shelter / diurnal silence / nocturnal conflicts staging my human schizophrenia // hopefully  // call me Sybil/ in my multiple echoes // from larva to nymphas // cycle of repetition / and exquisite corpses…

Credits:  M4 / New Territories _University of Innsbruck (institute for experimental architecture.hochbau) / Francois Roche & Camille Lacadée with Stephan Henrich / Assistant Producer / Galo Moncayo Asan, Marc Ihle, Peter   Griebel / CAST: Martina Lesjak / SCENARIO: Alexander Grasser, Jörg Stanzel / P.R.O.P.S: Lukas Härtenberger, Philipp Rust, Theresa Uitz / SUIT | ROBOT: Lino Lanzmaier, Pedja Gavrilovic, Simeon Brugger / CINEMATOGRAPHY: Alexander Nikolas Walzer, Gülay Güldemir / DIALOG: Theresa Uitz / DIRECTION: Francois Roche / EDITING: Francois Roche & Camille Lacadée / SOUNDDESIGN: Alexander Nikolas Walzer, Gülay Güldemir / ROBOT: Stephan Henrich / MAKE UP: Gülay Güldemir / SUPORTED BY: Spielraum - Fablab Innsbruck, RexLab - University of Innsbruck, Institute for Archeology - University of Innsbruck, Agrargemeinschaft Haggen / SPONSORS | PARTNERS: institute for experimental architecture.hochbau, Vice Rector for Research - University of Innsbruck, Dean of the Faculty of Architecture - University of Innsbruck


15)  Liminal (2016) / BKK

The liminal is a fiction story of an oracle trapped in a Carbon spot, similar to the Delphic Pythia, in a gas vapors, in our case coming from the robotic firing production of her game, as her toy from high manufacturing expertise, the extension, correlation of her mind…. She is loosened by the situation, of machine technological power and collateral effect (artifact) from this production doing under-influences emissions…..which affect his/her psychology and physiology…initially she was supposed to predict…and the devotees are waiting to hear their destiny, but she escaped in a bulimia drive, suppression of the fortune telling….strangling herself at the place  … to tell the truth…they are not able to face … ‘the eschatology of our period’ (millenaries) …So …she stay mute… swallowing and belching out all the candies…to suffocate… in the situation of rumbling… some evident sign of resignation which cannot be decoded by devotees…

She capitalize knowledge both by machine (bachelor) and psychotropic environment (carbon)… but she refuges herself in a pathology …to avoid to scare herself and the questioner about her/their own future… The Pythia is becoming a Cassandra…walled in noisy silence.

The notion of excess, excess of technology, of knowledge, of junk sweet food orgy…is a symptom in the pursuit Jean Francois Lyotard about the “libidinal economy”…

She has no vision any more, just trapped in the illusion of Desir / need+pleasure / …. In real time / and voluntary Blind…

PRODUCER / CONCEPTOR / NEW-TERRITORIES / M4 / RMIT / As part of the series “mythomaniaS” /

Credits: Emily Davies, Jasmine Syed / VOICE: Jasmine Syed/ ACTOR: Joshua Lye/ FABRICATION: Franziskus Rau, Harlan Pichette, Ben Wilson, Joshua Lye, Mary Spyropoulos/ CONCEPT DESIGN: Ben Wilson, Harlan Pichette, Joshua Lye/ DESIGN DEVELOPMENT: Ben Wilson/ ( SWEET ) SHRINE: Emily Davies, Jasmine Syed/ DIRECTION: Emily Davies / Francois Roche/ LIGHTING: Mary Spyropoulos, Ben Wilson, Harlan Pichette/ DRAPES TEAM: Harlan Pichette, Ben Wilson/ SHOOTING / CINEMATOGRAPHY: Emily Davies / STEADY CAM: Franziskus Rau/ SOUND DIRECTOR: Jasmine Syed/ HAIR / MAKE-UP: Jasmine Syed, Mary Spyropoulos/ ROBOTICS: Vong Wongkijjalerd/ ROBOTIC PROP DESIGN: the PYRODULIA / Mary Spyropoulos/ ACKNOWLEDGEMENTS: / Grandma, Gwyll Jahn, Lala, Matt, Maloti.


16)  The virgin case (2016-17) / France

Eve and Lilith are Siamese sisters whose genesis was their separation, the latter said to have been brought into existence before Adam, created, like him, of out of dust and clay. Both sterile and given to mockery, she outwits men and slips into the mirror of their sleeping fantasies to shatter their dreams of power.  A woman of the night and succubus, she embodies both her original equality and the threat to it… In contrast, Hawwâ’_Eve, was made from Adam’s rib, taken while he was sleeping. She is inherently subordinate to him and the one who receives, the fundamental mechanism of fecundity… of the existence of the community… the structural position of femininity in the masculine monotheist unconscious.

In Orleans, the site of this apparatus, you feel the omnipresence of Joan of Arc – her rebellion against the social order and even the ministry of religion, the faith that drove her but also… the sword she brandished on May 8, 1429 to lead the liberation of the city. Perhaps this Louise Michelle of her time, this mythologized and mystified Lilith, can be associated with the morbid, combative inclinations underlying some contemporary kinds of radicalization, in particular that of young women longing for a post-feminist existence who do not identify with the Western model of emancipation for women, and its parallel in the Arab Moslem countries with the figures of Huda Sha’arawi and Malak Hifni Nasif in the 1920s.

This mythomaniacal apparatus provides the occasion to compare and contrast two conceptions of women that have prevailed since they first arose in Christian, Jewish and Moslem scripture, both official codices and the apocrypha.

Together they discover their singularities, their dualities… here and now... and simultaneous perceive that the addition of their differences is not enough to describe them as an ensemble…

The film [The virgin Case] is still in editing.  The territory done at the Frac is the final scene. A structure at the end of the “exhibition/installation” layout that opens it up to the infinity of the probable.

(This text is accompanied by the dialog and the preamble that appears before the final credits)

A robotic and aleatory method was used in the fabrication of this ‘’prop’’: a heap of vitrified plastic created through the use of ambiguous anthropo-technical procedures (self-generating processes) whose main aim is to discover an engendered shape, a sort of shapeless and computational Golem, an artifact of the procedures set into motion.

…Let something happen, let it be made fuzzy by the very logic that drives this process, so as to corrupt the automaticity between 3-D fabrication technologies that are usually hostages to their procedures and thus produce an exact replica – for instance, 3-D printers. We propose that a robotic-computational operating procedure unfolding in real time serve as the vector of a design that emerges during the construction process itself.  

This means working out protocols that enable multiple local negotiations that will gradually reveal a form never designed in advance, one which will emerge from contingencies, their successive and aleatory iterations and reiterations… to produce a structure/territory that has no model other than the discovery and extraction of an underlying formal logic issued from the incestuous co-opulation of algebraic vectors and a bachelor machine, a 7-axis robot.

The movements of this robot are no longer based on determinist parameters. Instead of going from one predefined point to another, they operate in a conditional mode, based on its relative position, going from where it should be to where it will never be, because its trajectory is disrupted by new signals indicating a new orientation, over and over again, orientations intrinsic to its illogical logic, never following a path constituted only by the addition of pointless vectors, stuttering as it stammers.  

In short, this fragment will be a series of invaginated, hollow, folded areas, a tool-assisted speedrun heap of PLA plastic that is endlessly recycled and vitrified

Credits: New-Territories / Frac Orleans / s/he  / François Roche (special secretary) / Stephanie Lavaux (initial partner) / Vongsawat Wongkijjalerd (robotic partner, architect) / With / Georgios Chousen (researcher, architect) / Stephan Henrich (robotic, architect) / Devin Jernigan (computation, architect) / Benjamin Ennemoser (nozzle design, architect) / Marie Vic (dime novelist) / Thibaut Boyer (archivist) / Leo Torgoff (Translator) / Nadia Belaid (actor)


L’architecture infiltre et est infiltrée par sa scénarisation. Articuler ces 2 dimensions, en un entremêlement, un enlacement, c’est  développer des contingences, qui s’associent ou se dissocient comme deux artefacts en dialogue de sourd : l’un par le potentiel d’écrire un pitch pour un film employant une structure comme produit dérivé, et l’autre dans le monde tangible et tactile en donnant forme à une émergence qui construirait la raison d’être du film. La relation, le flux permanent entre l’architecture qui devient ‘Prop’ d’une autre production, d’une autre discipline, et son empreinte vulnérable à sa propre érosion produirait un dialogue siamois en processus transitoire et transactionnel indiscernables… entre narration et topologie… glissant vers un bégaiement osmotique et symbiotique… (protocoles schizoïdes miscibles et autonomes…) à l’origine de la naissance de quelques identités fictives ‘maclées’ (phénomène de réplication cristallin). … Il s’agit aussi de partager cet objectif schizoïde… raconter des histoires et les fabriquer mais également créer un laboratoire d’une durée donne… capable de mettre en place les conditions d’utilisation and de manipulation des sciences… à l’opposé du nouveau mysticisme et du retour d’un Positivisme naïf… Nous nous situons plutôt dans les traces de l’approche ‘Pataphysique, développant des dispositifs de connaissance, débarrassé du discours du Maitre (Deleuze), dans la poursuite du LOG#25, édité a NY a ‘Reclaim Resi[lience]stance, manipulant politiques and sciences...  ...‘Pataphysique / (avec apostrophe en préfixe) _ « science des solutions imaginaires…» _Alfred Jarry.