all pictures above by Claudia Brijbag
#mythomaniaS is a series of case studies in the form of short films, architectural fragments, stage props, texts, and images culled from the experiments of MindMachineMakingMyths (Lab M4, part of the New Territories architecture studio, Bankgok, Thailand), a collaboration begun in 2012 between Camille Lacadee and François Roche to construct environmental-architectural psycho-scapes (in the partly fabricated 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. Bringing together architecture, Deleuze and Guatarri’s schizoanalysis and deterritorialization, and Alfred Jarry’s pataphysics (the “science of imaginary solutions which symbolically attributes the properties of objects, described by their virtuality, to their lineaments”), Lacadee and Roche (and their tribe, Ezio Blasetti, Stephan Henrich, Danielle Willems, Gwyll Jahn, and many others) enacted and filmed mise-en-abymes in which certain scripted para-psychic narratives and architectural structures 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-machine-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”).
from a concept by F. Roche & C. Lacadee, 2012-15 - M4/mindmachinemakingmyths
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
Symmetric pathologies / strike through 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
What could happen, what must, 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.
During the journey, an unexpected event suddenly halts the train. This is not purely hazardous. A roll of the dice will never abolish chance. But we will be safe and sound. It has all been foreseen, evaluated, predicted, anticipated… security and safeness considered.
The train is a metaphor 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 of uncertain origin, uncertain, explained phenomena, creatures’ tracks, 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
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, chemistry, sublimation.
Through this experiment our participants will reunite in the good death, an escape or weaning. 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.
 Peter Brook: A stage space has two rules: (1) Anything can happen and (2) Something must happen
 1903 novel by Thomas Mann, set in a Swiss alps sanatorium
 Stéphane Mallarmé’s last major poem, Un coup de dés jamais n'abolira le hasard, 1897
 Etymologically ‘metaphor’ means ‘vehicle of transportation’, directly from Latin metaphora, from Greek metaphora - ‘a transfer’
 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.
 ‘La Diavolezza’, legend of the beautiful she-devil, cause of the disappearance of many young mountain hunters.
 Switzerland has legislatively permitted assisted suicide since 1942
 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.
 Weaning, rite of passage, from child to man
 A 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
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
The picaresque Soliloquy of a banished Arbitrista jester
(from the 17th century Spanish Court to Bkk Sathorn Unique, there & tomorrow)
 . 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.
 . 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…
 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".
 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.
mindmachinemakingmyths / 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
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
(The RAT and ... )
THE STORY OF A SERVITUDE DAILY ROUTINE BETWEEN TWO SERVANTS, DEDICATED TO TAME THEIR IMPULSES. AS A REPETITION AND ILLUSION OF DIFFERENCES, THE MAN REPEAT TIRELESSLY THE SAME STORY OF EMOTIONAL PATHOS BETWEEN DISCOVERY, CURIOSITY, TAMING, INDIFFERENCE AND CRUELTY-SLAUGHTERING... AS A HUMAN CEREMONY OF AMUSEMENT-ABUSEMENT....IN INDIFFERENCES AND IMPUNITY.
Props / Movie 6mn / New-Territories-RMIT
...it 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
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.
Movie / Design: Francois Roche & Camille Lacadee
Performance: Syv Bruzeau
Collaboration: Jeremy Djaffer / Tiziano Derme
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…
Movie / Design: mindmachinemakingmyths / Camille Lacadee with Katrin Hochschuhe
(Beau)strosity is set in the slum of a pan Asian mega-city 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 + RMIT
Francois Roche, Camille Lacadée
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
NAXOS - TERRA INSOLA (ARIADNE ONANISM)
… THE BLANCHING OF ARIADNE IS VISIBLE… IN HER NEW-AGE ANIMAL REGRESSION LIVING ON HARVEST AND MASTURBATION SHE 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…
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”.
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
ALTHOUGH (IN) HAPNEA
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
set & 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
mindmachinemakingmyths / New-Territories / [eIf/bʌt/c] / Francois Roche & Camille Lacadee - with Carsten Holler for Donau Festival 2013
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 altered 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 subjectivity escaping, crossing real and unreal, logic and illogical, through the viscera, the arterial, 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)
“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 one...as 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”
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
Acknowledgements, Sri Ganapati Vedeshwar (Study Circle Library), Elias Tabet (Pandrata Circle), Sanjeen SingPawat, Gwyl Jahn
Construction, Manjunath & Co, Engineer, Ravi N.Pattegar, Civil Engineer Contractor
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, over-crossing, 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.
set for Jitti Chompee's performance Deamon in Venice / 18 MONKEYS DANCE THEATRE with Nutthapong Jiratthiticharoen / Natreeya Kraichitti / Thanaporn Lam / Pisut Phumchaosoun / Jariyaporn Prachasartta / Sitthiwat Suddhijaru /Bahnfun Chittmittrapap