Teslaism: Economics After the End of the End of the Future – Bahar Noorizadeh

Teslaism: Economics After the End of the End of the Future (2022) – teaser 2

Teslaism is a 3rd person racing musical game featuring Elon Musk and his self-driving car/lover and life coach, as they drive towards a shareholder meeting in a post-gamified Berlin landscape.

The work takes the newly built Gigafactory in Berlin as a prism to describe the emergence of Teslaism (succeeding Post-fordism) as a novel system of production and consumption predicated on advanced storytelling, financial worldbuilding, and imagineering “the look of the future.”

The Teslaist CEO is a collage artist. Weaving together one tweet, one dance move, one meme after another, he creates a set of perpetually postponed and too-fabulous-to-be-fake narratives to make time make power.

If post-industrial Detroit was soundtracked to techno’s futures, the age of Teslaism seeks its own common sonic imaginaries: forms of resistance inhabiting our exceedingly financialized cities.

The original draft of Teslaism was commissioned for Tresor 31: Techno, Berlin, and the Great Freedom, an exhibition reflecting on three decades of musical evolution, social change and city development from Berlin to Detroit, told through the lens of Techno’s history (July-Aug 2022.)

Conic sections – XOR Gate (brainchild of Gerald Donald, one half of Drexciya and Dopplereffekt)
Helena Hauff – Humanoid Fruit (Unreleased)
GRV Tr 4 – TV Victor

All tracks are courtesy of Tresor Records and the artists

[text copied from Bahar Noorizadeh]

destroyed notes on Omniscient

copied from Etherpad Version 1587 Saved December 7, 2022

Authors: SN, destroyer + 3 unnamed authors (     )

It’s Friday, the 4th of November 2022. It is raining and I am staying inside, on a couch made from pallets with some mattress on top. It is quiet here in Ussana. On top of a hill, in the house of an agriturismo site where I’ve been staying for the past two months in Sardegna. I’m currently watching Omniscient (2020) on Netflix. Omniscient is a Brazilian science fiction series created by Pedro Aguilera, revolving around a city with an all-knowing security system of drones. This is a summary of E1 “I committed a crime”.

We follow Nina Peixoto (played by Carla Salle), a tech trainee at Omniscient. This episode starts with her waking up, greeting her dad and brother and rushing to her first praise. The praise is like a performance interview, about which Nina is slightly nervous. She nails it and is excited to share the good news with her father, who retired as a maintenance employee from the same company. She tries to reach him on her phone. No response. Only to find him lying dead at home, killed. No security drone did alert the system of any crime committed. Why did the system fail? Nina finds herself in a moral conflict. This evident crime should not have gone unnoticed! Condolences are offered, but she cannot grieve. The firm’s reputation is on the line.

Economic standing is more important than solving what went wrong. She needs to keep quiet about her suspicions of the system’s error, but enraged by the lack of support she gets from the company, she commits a crime herself; she breaks an artwork in the office hall. Immidetly, she is reported by her drone. She asks Judite (Sandra Corveloni), from the city’s council, for help. Nina and Judite briefly leave their city, and Omniscient’s privatised security technologies, to talk without the need to watch their words. Here, Nina comes up with a plan to investigate her father’s demise. The next day she commits her second crime without being caught in the moment by, and in, Omniscient.

Omniscient E2 “A good person who’s done a horrible thing”. She has the fingerprint, but she cannot go through with it.  Her brother Daniel Peixoto (Guilherme Prates) goes outside, against better judgement. Nina discovers a cowardly act from her father’s past. Is she not the coward he seemingly once was? She goes through with it. Oh, and the CEO of Omniscient leaves the city to beat up a random homeless person. How typical.

Omniscient E3 “This is our Pandora’s Box”. The method devises the means? What is that saying about ‘everything is allowed to win the game’? Demanding bureaucracy (bureaucracy) never works. Fail. Trick the system. Betrail of friendship. Sex tapes. The moral compasses seem to be destabilised. The socks I’m wearing today state that “We cum in peace and so should you”.

Omniscient E4 “Who wants to dive in first?”.  Nina joins Vinicius’ spiritual liberation group. In front of everyone, her guilt and fears are involuntarily laid bare through mediation and meditation. 

Omniscient E5 “Open this door!”. or I will suffocate. guilt trippin’ because she didn’t see another way. I am not suitable to do any psychological assessment. The protagonist and other characters are a bit flat. I tune out.

Omniscient E6 “Don’t forget that I’ll keep my eyes on you”. Predictable ending.

Balenciaga Winter 19

Romantic- Real-Life Role Play (?)

Balenciaga Winter 19 Campaign Over two days five real couples were interviewed and experimented with role play to explore their current and past relationships. Video by Ed Fornieles Role Play Mechanics by Ed Fornieles and Nina Runa Essendrop.


Human Experience 

©️Rob van Hoorn – Nina Runa Essendrop at Marres training-the-senses-human-experience/

Human Experience  – Nina Runa Essendrop

Medium: LARP

Human Experience is a physical, immersive live action role play (LARP) about the sensations we get from movement, touch and sensory experience. The LARP is played by two groups. One group is called Ancient Consciousnesses. They are floating minds that have existed in our world forever and understand basic concepts (like the concept of a human or a flower), but they have never tried to be physically in contact with anything. For the duration of the play, they materialize into human bodies in order to carefully experience the nuances in the way humans move and sense and to try to understand what it is like to be human and experience through a body.

This is where the second group enters the story. This group consists of the audience that is part of the fiction of the LARP. They are there to aid the Ancient Consciousnesses in their exploration by showing movements or describing sensations to them. The purpose of this LARP is to create a sensory awareness of what it is to experience everything anew.

[source: Marres.org ]

Augmented Reality Artwork Vandalized

©️Sebastian Errazuriz

Augmented Reality Artwork Vandalized – Sebastian Errazuriz

Medium: AR effect Location: New York’s Central Park Date: 2017


Deface, vandalise, DDOS, breach, appropriate, override:

digital graffiti

What classifies as a counteraction to the corporatisation of the realm between public space and virtual space (a.k.a. social media corporations)? Where is this virtual public space? How do we experience virtual reality without being monopolised by corporate content? Social interactions take place as if they are merely a marketing play. Creativity as a virtual branding game. The ability to assemble virtual images of things that either are not physically present or are not conceived, created or considered by others -irl- in the same way. In 2017, a Snapchat X Jeff Koons augmented reality collab 3D sculpture of Koons’ famous Balloon Dog became digitally visible in New York’s Central Park. 24 hours after its online release, the artist Sebastian Errazuriz and his team from CrossLab administered a duplicate 3D AR Balloon Dog + graffiti. Connected by geo-tag to the exact coordinates, the “vandalised” AR sculpture replaces the original AR object owned by a company.