Excerpt from my science fiction story „A (New) Way of Thinking“:
„…
Nomadyna was one of these places founded on the ruins of a power plant destroyed during the war. Unlike many other infrastructure which was reconstructed overnight by construction drones, it was not rebuilt, as it was an outdated coal plant. Like many similar spaces, Nomadyna was inspired from the ideas to create a place where people can exchange thoughts and ideas in unorthodox ways. The new idea of conversation was going beyond verbal language and experimenting with other ways of communication, especially with visual and bodily communication. Generative language, which spread during the war years around the world enabled a new way of communication and hence a new way of thinking independent of the language you speak. The variety of construction of words and the connection between them, words and the syntax, inspired languages around the world via large language models. The instant and multi variational translation between diverse languages was both enriching the existing languages and eroding their classical structures of them. The less spoken languages were more prone to this change using the new additional words and phrases constructively, because their fewer speakers could reach a consensus. More popular languages in turn were quickly torn in fractions getting split in variations where cultural spheres were adopting different ways of speaking according to their ways of thinking.
Places like Nomadyna were opened by people, who would be labeled as visionaries by future generations. The idea behind was that the overwhelming changes in spoken language brought a way of speaking similar to large language models of AI. This way was, of course, nothing inhumane. The processes of human mental chatter, dreaming, speaking in hypnosis and writing in mental flow was already known for more than hundred years. And indeed this way of speaking was fruitful. It solved many individual and collective problems, perceived seemingly complex before, as they were hard to speak out. After all, it was the talks in this new language that ended the war. The end of the war and all its extensions, inequality and corruption. It was the help of this language which helped to understand the perpetrators of societal and environmental destruction, that they suffered as much as the victims at the end, if they surrendered themselves to their greedy instincts.
No, the need to open places like Nomadyna was not a need for more verbal conversations to solve problems on the planet. More the opposite. The functional verbal communication of the new language was slowly solving all these problems one by one, or rather all together step by step. It was more the need of the people to take a break of the speed of this verbal communication, which became the definition of work itself, countering the immense unemployment after the takeover of the most blue and white collar jobs by machines. Earning by chatting was the new definition of work. During work times, which you could schedule to any daily amount and daytime, you were chatting with the AI of your interested topic, thinking in a collective manner. Most of the time there were also other human chatters in the conversation, and AI would also listen carefully when humans converse between themselves. Solutions on micro and macro level were achieved either directly in these conversations or as a result of the further training of AI from the chat.
As such Nomadyna was a place of recreation for the new working class. Not a place for digital communication, it was highly discouraged to use your mobile phone as a terminal to communicate online or with AI. Trying to go beyond utilitarianism it was a space to discover your body and curiosity.“
Visuo-Spatial Research on Novel Art Spaces
“Nomadyna” is a futuristic art space. It is an acronym of the 1982 science fiction novel “Andymon”. Current art spaces (museums, traditional galleries, temporary event locations and exhibition spaces) lack direct audience participation. The contemporary artwork-audience interaction, even in digital interactive installations, is focused on individual experience and perception, creating a distinction between artist and visitor. The individuality of the interaction is a decisive factor for the experience, and it is rare that art experiences have groups which already have an existing relationship dynamics.
Nomadyna, inspired by Fluxus and happening genres, aims to put the art creation in focus, fusioning the perception and interaction within a group into the production process. In order to achieve this, bodily interaction and movement of the audience is integrated into a learning process. Although the inspiration of the learning process has its background in liquid neural networks, the art space is not only a technomanic white cube with sensors and actors. It is rather an amalgam of analog artistic media with supportive elements of technology. Dance is the main driving force which is shaping diverse materials which are fluid and have high plasticity, such as colored water and kinetic sand. The evolving visual communication within the space reflects the shift from one way text and image communication into a primarily bodily spatial and corporal communication.
The research process aims to design a space that enables a “telematic” socialization, for collaborative, non-hierarchical interactions for -already- networked communities.
This said the concept does not wholly exclude individual art experiences. During such a happening a person can participate either by docking to the group or staying as a free agent in the room, dancing and creating visual art with the same materials individually.