CODE EMPIRE

Code Empire Gouache on paper 56 x 76 cm 2017

In Code Empire I have painted Earth and its moon in binary code that repeats/instructs the word EMPIRE. But the full code is not seen, as it wraps around the planet and the moon. Various satellites are positioned in space, and signals radiate into - or - from outer space. 

Code Empire is a continuation of my interest in trying to portray and reflect upon the influence of contemporary digital and cyber technology in our daily lives generally, and in war and conflict specifically. 

The World Needs Artists

As regular readers know, I have a keen interest in contemporary weaponised technology, especially airborne drones, increasing autonomy in weapon systems, swarming capabilities and ubiquitous surveillance technology. Code Empire channels all these interests as well as my interest in cosmological perspective. I propose that cosmic perspectives, albeit imagined, are useful ways to critically view current global geopolitical machinations. When I say "imagined", I know some people find it hard to transport themselves beyond the here, now and the obvious - that's why the world needs artists!

Cosmic Perspective

With a cosmic perspective, a few readings of Code Empire are possible. Maybe it exposes the infiltration of militarised surveillance facilitation beyond Earth's atmosphere to dual-use communication and GPS satellites; the digital 'empire' already extended into space? If this is the case it is not just the planet enmeshed in code, but also our atmosphere and beyond. Human endeavours regarding technological development are to be marveled, but ultimately is there a human cost, perhaps not initially apparent? Researchers at the Center for the Study of Existential Risk and others have certainly determined that there are risks with accelerating developments in new technologies, including artificial intelligence. 

What if...?

Whilst Code Empire might depict Earth and the moon, it may not be an image of anything in our solar system at all! It could be another planet in another star system or galaxy - or universe, also enmeshed by code! Or, it could be 'evidence' that Earth, and possibly the universe, may be a simulation run by posthumans. My painted signals may not be radiating out from Earth, but into it from some kind of external/remote motherboard entity. It is useful to think about the idea of a posthuman simulation, because it implies that the human species no longer exists. If we are not a simulation, thinking about a post - human world might trigger more critical and urgent examinations of the role militarised-capable technology plays as a threat to human agency and wellbeing. 

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Cheers,

Kathryn

FOREVER WATCHED

Forever Watched Gouache on paper 56 x 76 cm 2017

In Forever Watched a group of human beings stand together under a cage of yellow rays. Is the source of these rays a spotlight, a protective force-field, surveillance signals from an obscured drone, or maybe a computer-graphic rendering of a kill zone? Maybe humanity is being lit by a star on a cosmic stage? Is it God sending divine light? Is it magic? 

This painting is another of my cosmic landscapes where I play with perspective, literal and metaphoric. With cosmic perspectives, events such as conflict and war are clearly futile, and over consumption of natural resources seems like a death wish. Risk takes on new dimensions when we really think about the fact that, for the time being anyway, Earth is our only home! Looking after it and ourselves seem like sensible things to do.

But, there are forces afoot that create and maintain tension.

The 21st century is an era of pervasive and ubiquitous surveillance. In the 22nd century, will the 21st century be considered the beginning the 'forever watched epoch'? 

Surveillance occurs when data is collected from GPS systems and mobile phone usage. And, internet usage and browsing history delivers more data. Crowd monitoring in shopping centers and at events gleans even more data. We are under surveillance at airports, our documents cross-checked, our bodies and belongings xrayed, and our movements around the globe recorded. 

There is a plethora of ways for people to be watched, passively or aggressively.

In some areas of the world airborne drones monitor individuals and groups for signs of behaviour that, for those watching, may indicate malign intent. This kind of surveillance acts as a type of military policing, placing fear into those who are constantly watched and monitored. That a drone could quickly turn from surveillance mode to killing mode couples surveillance with lethal weaponry in one device. The drone, with its various sensors, then becomes a multi faceted dexterous device - private detective, witness, analyst, prosecutor, judge and executioner combined!

Being watched, however, can be considered a way to ensure citizenry safety - a protective practice. Yet, there is something rather creepy about being under constant scrutiny. And, have things become bad enough to require constant scrutiny/protection?  Arguably, being forever watched could be considered an insidious way to insert mechanisms of control across domains. 

Welcome to the "everywhere war"(Derek Gregory, 2011).

Cosmic Testimony Gouache on paper 56 x 76 cm 2017

Cheers,

Kathryn

COSMIC TESTIMONY

Cosmic Testimony Gouache and watercolour on paper 56 x 76 cm 2017

WITNESSING

Giving testimony is that act of providing evidence of an event, an occurrence, a behaviour or even a phenomenon. Maybe it is an eyewitness testimony? Or, it could be a "flesh witness" testimony from someone who has an immersive experienced in something, rather than observational one? Yuval Noah Harari's article "Scholars, Eyewitnesses, and Flesh-Witnesses of War: A Tense Relationship," is a terrific introduction to the nuanced differences between an eyewitness and a "flesh witness".

In Cosmic Testimony a number of questions about witnessing are triggered. Is the image a projected future scenario that provides a chance to witness the future in order to preempt disaster? Here, I take my cue from Forensic Architecture's postulation that "forensic futures" are possible. Although, I do not use new media, digital data or documentary techniques to create my images, the idea of touching the future is really tantalising. Here's a quote from the Forensic Architecture website, "forensic futures sets out to document the enabling conditions of violence, and offers an archive that may be called upon to testify in the future." Here, a key idea is "enabling conditions of violence". The Forensic Architecture website mentions patterns of behaviour that are likely to be repeated in the future as an indication of "enabling conditions".

REPEATING PATTERNS

In Cosmic Testimony there are hints of a number of repeating patterns - extreme climate events - increasing presence of surveillance - the presence of ever increasing developments in militarised technology ie: drone capabilities. But, there are no real answers - it's a painting after all! Rather than answers, there are questions. Was the fire caused by the small but lethally armed red drone - its Hellfire missiles erupting in massive destruction? Depending on your answer you might read the human figures, enclosed by a cage of yellow rays, as either captured or protected? Are they captured in surveillance signals of an airborne drone? Maybe they are targeted and a kill zone is delineated around them? Or, maybe the yellow rays are protective, some kind of divine force keeping humanity safe? The fire may be an Australian firestorm. Indeed, firestorms and floods seem to occur with increasing frequency around the world, presenting evidence that extreme climate change is potentially a major existential risk to humanity. Yet, the fire is inspired by my childhood memories of my father burning off crop stubble.* 

COSMIC PERSPECTIVE

With a cosmic perspective patterns become obvious. This is at the same time it becomes clear that humanity has nowhere else to go if Earth is compromised to the extent it cannot support life. Distance provides the space for a kind of witnessing where "patterns of behaviour" by "familiar cast of characters" help to foretell a future where violence, ignorance and unsustainable practices could be the norm. 

TREE-OF-LIFE

However, in Cosmic Testimony I  have included my version of the transcultural/religious tree-of-life as another kind of evidence - of sustainable life! The presence of the tree and its roots, coupled with the fire symbolically speak of renewal, potency and rebirth. The spinney of leaves speak of time passing and act as a pathway for humanity. Ultimately, the painting presents a few possible futures for humanity - good and bad - each largely depending on choices we make here and now in the twenty-first century. This is one of the messages Martin Rees conveyed in his fascinating book Our Final Century: Will the Human Race Survive the Twenty-First Century? 

Stirring the Dark Chasm Gouache and watercolour on paper 56 x 76 cm 2017

* Other fiery paintings:

Hot

Fire and Flood: Extremus

Stirring the Dark Chasm

Anthropocene

Cheers,

Kathryn

HOT

Hot Gouache on paper 56 x 76 cm 2017

CROP STUBBLE

Regular readers will have noticed a few fires in my recent paintings. The inspiration is drawn from childhood memories of my father burning crop stubble. Magnificent fires, over hectares of ground, lit the sky as it darkened...best to light fires at the stillest part of the day. These fires took over the horizon in ways that brought the Milky Way closer. Embers and stars seem to meet - fleetingly. The flat treeless plain, where my parents' farm was situated, provided fire with a 'canvas' of vast proportions.   

In my recent paintings I've transported my childhood memories into cosmic landscapes where orientation is ambiguous. I really like the sense of flying! In Hot I imagine I could be an ember or a star! You could be an ember or a star too.

SERIOUSLY, HOT

But, seriously - Hot does engage with issues relating to global warming and environmental sustainability. Here, in Australia fires and firestorms seem to have become fiercer and more regular, particularly during our long hot dry summers. 'Heated' debates about how land is prepared or not prepared for the possibility of runaway fires occur, before and after fire events. Farmers, green lobbyists, environmentalists, government departments argue about the best ways to prevent fire occurring and spreading. As the arguments continue, we approach each summer with trepidation.

OTHER POSSIBILITIES
What if the fire in Hot is Earth's last remnant, consumed by cataclysmic devastation? Or, it could be a painting of the future, when the Sun meets its demise and the solar system is destroyed. Maybe Hot is the Sun's last gasp, Earth already non-existent? Maybe it's not Earth or our Sun? Maybe, it's a fire at another cosmic address?

Other fiery paintings:

Fire and Flood: Extremus

Stirring the Dark Chasm

Anthropocene

Cheers,

Kathryn