Concept (en)

Theory — admin @ 5:38 pm

“The pain of everyday life” is a critical performance addressing public and private space and their paradigm shift in the realms of everyday constraints, therefore the relation of abstract information layers to our everyday life. Within urban systems, as we are experiencing them right now, an invisible architecture is perceived and superimposed

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which constantly re-assembles a resonant landscape, consisting of electromagnetic waves. It bypasses human, buildings as well as vehicles through the streets of a so called Maxwell City. The restriction as such and its augmented invisibility are the source material for Gordan Savicic.

A chest strap with high torque servo motors (muy fuerte mi amigo!) and a wifi-enabled gaming console (Nintendo DS lite) are worn as fetish object. Thus, when approaching an enclosed encrypted wireless network, the strap reacts immediately. The higher the wireless signal strength, the tighter the jacket becomes. This technique, also called Inverse War-Driving, challenges the much overhyped discourse about locative and wearable media. Everyday walks between home, work and leisure are recompiled into a schizogeographic* pain-map. The 21st century flaneur balances along sensual perceived pain and the torture of contemporary Arcades sans fil.

Michel de Certaeu stated about citizens and their everyday movements:

They walk – an elementary form of this experience of the city; they are walkers “Wandersmaenner”, whose bodies follow the thicks and thins of an urban “text” they write without being able to read it. These practitioners make use of spaces that cannot be seen.(2)

By wearing the straightjacket, the Wandersmann not only writes, but is at once able to read the city code. Electromagnetic waves are forming the chest strap, thus shaping the invisible architecture directly onto the human body. As another countermove the mapping procedure is recorded on a GIS-layered map which keeps track of ordinary everyday walks and its chosen alternative routes. By displaying the playful approach of the wearer, it reveals not solely a psychogeographic pain-map, but as a result also the wearer’s admiration for gentle tortures as well as the alteration of everyday routines in RealPlay.

It is always by way of pain one arrives at pleasure. (Marquis de Sade)

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