Drug Design and Aesthetic Obsolescence Pharmacologies for a Reformulated Concept of Virtual Reality

Hugo Paquete and Ana Santos

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Abstract/Resumen/Resumé

We propose an anthropological and technocultural analysis that follows the changeability of the tangibility of this subject, using David Le Breton in Farewell to the Body (2003). The urban- corporeal technoscientific imaginary is explored in complete decay, precariousness and imperfection, in which ‘Post-flesh’ Kroker (1994) and ‘Interzone’ (ibid) bodies. resting biomechanical objects maintain multiple connections in an expanding world in the third millennium. We explore the concepts of obsolescence and accident presented by William Kurtz at the Association for Strategic Accidents of 1990. We present in parallel ideas of “drug design” biochemical pharmacologies that allow new perception schemes that deal with ideas about virtual reality. As will be demonstrated in the course of the argument, there is a direct relationship between the expansion of VR technology immersion systems treated as virology and infection on the human senses, which generate the side effect of the immobilised body that is the result of a consensual hallucination (ibid) and desires to escape the body.

Keywords: Anthropology, Technoculture, Narcotic-design, body, virtual reality

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The multimedia body: immunosuppressive infection and virus as model

The third millennium in arts and feeling the effects of a viral infection in the multimedia body that contaminates our senses and numbs the body and spirit with symptoms we may call immunosuppressive infection of the flood of audible, visual and textual information and in the networks, due to the impact of technology and multimedia apparatus and the corresponding devices. Such devices tend to turn entertainment into addiction as medicines or drugs, together with the symptoms of a pavlovian interaction of conditioned response between action and reaction in the so- called interactive artistic manifestations. Therefore, it is important to consider the contamination and the virus – in this argument – as an element establishing contagion in the culture of networks we currently live in. Such element is at the service of how culture spreads through media and society, influencing the artistic production, its fields and agents with an imagination and a set of problems that deal with the body as interface, representation and performative device as opposed to interactive device. Because it is assumed that interaction exists throughout all experience and it only makes sense to talk about interaction when it seeks to be quantified in functionality modes, albeit that is not our interest nor purpose of this essay. Hence, the virus and its infections and effects are not only a metaphor throughout the text, but also a quasi-performative operating system reflecting the way knowledge is established between disciplines and mode of action, infection to find and describe symptomatology, effects, problems, reproductions and transformations, and lastly to structure a diagnosis and treatment for certain symptoms of contemporary art – in order to question how new paradigms circulate in artistic speeches – as well as of parasitic relationships inherent to technological interactions with creation, art and power and their cultural meanings. This logic of viral infection needs a body that, in this argument, is portrayed as the multimedia body which, in turn, is a terminal body. Within this context, terminal is seen as an already symptomatic contagion body of technological connections which are established with the several dimensions of the actual and the virtual, an infected body, biologically mutated and contaminated by technical devices, where the whole sensory and cognitive system is already simulated. However, it is immobile as a connection terminal in a world of imaginary geographies. A body that lives and is immersed in the propaganda called VR interactive art, backed by arts and technology as a way of overcoming the biological design and emancipation power of an organism seeking to escape from the habitat towards imaginary worlds of ‘retinal persistence’ (Virilio, 1994). The multimedia body has access to information, knowledge, entertainment and culture widespread over the networks where everything is popular and manageable, where biological and ideological contagions and infections do not kill nor hurt the virtual and leave no marks that cannot be replaced by other designs in the imaginary world to where the mind immigrated and the body was left in a coma. We can reveal that these relations and thoughts are everywhere, scattered in the aestheticisation of the artistic currentness and in the devices we constantly use in a transmedia narrative running through our daily lives as a story of a multimedia body entangled in prosthetics. Such results from the interaction with mobile phones, computers, information panels, digital clocks, remote controls, among other means that perform an unfolding between the tangible and the virtual, accompanied by current defragmentation symptoms based on the optical fibre viral speed, bifurcating into two opposing and general narratives: the narrative of the tangible object, suspended in materialities and substances, in ailments and limitations of the biological body and its viral ailments; and the narrative of the digital object, designed in the code and simulation, also exposed to the context of virology in computer clusters and branched in Wi-Fi, Bluetooth, 4G and, later on, in 5G, as advent of IOT: Internet of things and its expansion. The Viral Infection is all around: territories, body organs, mind and ideology. We can briefly say that infection and virus are a tendency for the digital and its effects on the network of corporate and social meanings and desires for alienation or disorientation. This is the highest point of dematerialisation of the merger between concrete and digital, creating the principle of unification and emphasising the idea that all reality could be an infectious reality where different viral and infectious configurations establish contagions in the network, in stationary bodies that perceive materialities, substances and experiences, through technological mediation with filtered, altered and technological senses. Thus, in this context of acquisition of experience and artistic production, we find prostheses all around. Such prostheses work as artistic objects – more or less functional or fusing – expressing a desire for connection with the digital, a detachment of the body that is then configured as a dismembered set of fragments, organs of a digitised biology where only the mind survives and is the centre of the aesthetic experience. The aforementioned VR devices sometimes try to deceive us from a false aesthetic novelty or formal potential. These are Gadgets used to complete the political mechanisms of infection and the symptom of stagnation of a body in a coma. They were developed to deepen the aestheticised experience we get in the real-world of the third millennium, as an imaginary in an urban space, also politically conceived and structured to keep the citizens in quarantine and in a controlled immune numbness and under surveillance, including artists who are also contaminated by these viral symptoms. The parasite has already controlled the host and the infection has spread as a need to positively use technology, entertainment-related, and without opposing tensions against the infection and the parasite. Firstly, we must understand that we are all infected and that the effects of symptoms are visible in our aesthetic and formal choices, as well as in the techniques and means by which we express ourselves in contemporary art. Thus, the starting point is to understand that we have the virus and the parasite within us, knowing that they will seek to control us. It is therefore up to us to find a strategy to deal with the infection. Our strategy is to reflect on its effects and establish a diagnosis based on artistic projects that question the state of the viral infection, the technology impact on the creation and multimedia body as a form of performative resistance that erupts with the coma, and to manipulate the virus – either by assimilation or opposition and based on the treatments administered – in which patients are required to leave the terminal body. Logically, this treatment cannot be developed without side effects and sequelae in the host and his art, worldview and speeches, as our treatment is rather invasive and entails understanding technology in artistic production in a more critical way. The infection is assumed and used not only to make us the host of the virus but also to fight it and use its vitality potential and possibilities for a more post-digital theoretical, aesthetic and formal mutation, based on an aesthetics reflecting the digital and the technological. It shall explore its functional limits and changes – whether in technological, biological, natural or artificial devices – in ways of accessing the human biological world and its manipulation by hacking processes or a link between humans and other non- human entities that coexist the space and time, in which the present is developed with its autonomy and where the accident is the way to be free from contagion and infection. As Jussi Parikka states about virology, “Virality demonstrates the ability of transversal connections that move in intervals, between stable states. It is hence a molecular vector that increasingly describes the functioning of societies of control” (Parikka, 2007). If we do not understand that this viral infection is lethal, we can end up with multimedia bodies that simply create entertainment or aesthetics of obsolescence and accept their coma and viral infection without questioning the mechanisms that entertain their life in suspension. Nor understanding that arts and associated speeches can be both a virus or an antidote. There are artistic movements, projects and ideas that, due to their radicality, create resistance at a given historic moment and are sometimes excluded or forgotten from the great and conventional history of the most investigated and documented “great arts and ideas”. Such history – always held in parallel and supported by the machine of the economic and political market of arts – implements and builds meanings and infections, in the revelations and value and development of new desires. However, these peripheral groups carry a vital energy less involved with the dominant speeches, influencing a range of artists, thoughts and production processes, which is important to bring from the periphery to the centre of the infection, demonstrating other treatment opportunities to be administrated to the infected body. In such groups, we notice the implications of the market that makes the history of “great arts and ideas”, which is nothing more than a mercantile circulation of the work and its programmatic meanings, wrapped in speeches that do not conflict nor represent a paradox with the settled time. Let’s say such groups and ideas are like those of ASA’s: Association for Strategic Accidents^[1]Accessed on the 5th of August 2019. of William E. Kurtz, in “1990” (Meegen, 1998) which I present with the purpose of showing an historic moment that, in my opinion, contributes to the concept of Post- Digital and the aesthetics of failure and the concept of accident, related to art and technology and their less techno-positivist conceptualisation and production methods. It is worth pointing out that such associations emerge in 1990, ten years before the Kim Cascone^[2]“The Aesthetics of Failure: “Post-Digital’ Tendencies in Contemporary Computer music.” of 2000, which established the biggest contagion I refer to as ‘post-digital aesthetics’. However, I would like to emphasise that the infection is used to counter techno-positivism and its critical virus was in a state of hibernation for 10 years until it revealed itself and infiltrated its hosts. Having said this, we can understand that a mutating virology was already in circulation, more critical on the technological effects and modes of perception allowed thereby. Therefore, the multimedia terminal body finds itself between the reality and the virtual and is a ‘Post-flesh’ body, (Kroker, 1994) which is a body of the virtual class of subjects – or sentients actors, as I prefer to call it – in the era of disappearance and ineffable. This body accesses and is accessed by synergy with the machine – through its doors – in a process of immortalising action that connects us with the dispersion of our nervous system in the network, in a world of variable geography in the code flows that encourages our interaction between complex systems inside and outside earth, through satellites and orbital relations where consciousness navigates and simulates itself in the deep-space (ibid) and media-force fields (ibid). Frances Dyson defines these conditions as a point of ‘mystical space’ (Dyson, 2009) and ‘comic space’ (ibid), which is the post-human condition of today. The multimedia body emerges in this tangle of devices, prostheses, chemical, genetic and, in short, biological and cultural changes, through its technological manipulation. Acquires new members by viral mutation, ideas and performativity, sometimes tending towards immobility as a state of coma induced by a viral condition, in which the parasite controls the host and controls all infected organs, seeking to leave them behind as preparation or mutation that allows for a better adaptability to the virtual body, multimedia body or design body, filled with super-organs and reconfigurable mutations in the digital, where biology, as fiction, builds the required distance to the biological interface. Such interface is abandoned in the paraphernalia of the machines assisting it, surrounded by a parody orchestrated by the circuits of power that dictate the desires and drives of the detachment from the biological interface of the digital, design and virtual interface.

Drug design: pharmacologies for a reformulated concept of virtual reality as opposed to the machine-assisted multimedia body

The liberation of the body and the ways of accentuating infection to more advanced states of symptom experience and its consequences on the terminal body and the corresponding meanings towards the body representations and experiences accessed by the body as device and terminal. We can observe trends and drives in some artistic practices, such as works using virtual reality techniques. The trend is a need for body evasion and immersion in imaginary multimedia worlds, assisted by simulation machines. In this kind of multimedia experience, some conditions worth reflecting have been drawn up. If, on one hand, the participant’s multimedia body in some of the experiences is immobile, stagnant and immersed in a virtual space that reconfigures a state of “reality” in the mind, through computer simulations and virtual reality glasses used as a prosthesis of a cinema-like experience, on the other hand, the idea of the terminal body where aesthetic experience is compared to a waking dream state, connected by cables to machines that keep the life impulse in illusory suspension and reduced mobility, similar to hospital settings or comparable to a visit to an ophthalmologist.

Image 1: Prescription of design drugs: biochemical virtual reality. Hugo Paquete and Ana Santos. 2019.

To counter these applications, we present as ‘virtual reality’ the use of chemical drugs and technologies available to develop “drug design” for aesthetic purposes and for the study of the virtual reality concept. These drugs are created with the aim of producing complex states of altered consciousness to further deepen the aesthetic experience and possible developed narratives. Using a chemical combination which creates a short-circuit, poisoning and alteration in the brain – instead of the image and aesthetics of cinema and videogames – aiming at the aesthetic fruition in an altered state of consciousness and as a solution to a truly virtual art that also frees the body from the mechanisms and from a comatose state, sustained in the idea of a cyborg body from the imaginary of the 1960s-1990s, connected to prostheses and animated by non-chemical energies. A perfect image of the body missing the ability to deal with the reality and where the prosthesis represents the way of adapting to the technological advancement speed opposing to the biological adaptability. Our technological approach is more invisible and uses the corresponding pharmacology and technology in order to generate more sophisticated aesthetic experiences with an affected and liberated to performativity body which explores its full potential of movement and connection. If we believe that virtual reality experiences scan and represent objects and elements we can find in the non-virtual world, therefore our experience of virtual reality allows for a more open narrative where the participants discover the meanings and objects in the scenery surrounding them, which is enhanced by the alteration of their states of consciousness, thereby reaching a true virtual reality experience closer to the post-digital aesthetics. In this process, the error and the unpredictable are envisaged as side effects in the form of fevers, hallucinations, disorientation and other cathartic effects, including seizures. All these experiences highlight the potential of the aesthetic experience and utilities of our virtual reality system. We are also looking to develop, in the long run and with industrial support, infectious viruses that produce a set of corporal and psychological symptoms in order for us to explore these concepts which are close to hallucination and are mediated by complex technologies available to us. Therefore, we are looking for institutional or independent partners interested in exploring these processes with aesthetical purposes and expanding the multimedia body by chemically and virally implanting the conditions for interaction with virtual worlds and potentialities for creativity and experience. In this regard, the virtual reality concepts and techniques must evolve in the contemporary art, since the VR systems do not have the required metaphysical dimension to back up that argument from where we stand.

We can affirm that some virtual reality projects could be handled in more traditional supports considering that the only originality, in some cases, is simply located in the technological support and not in the content. It exists, so to say, a difficulty in separating the generalised attraction we feel for the technological evolution of the aesthetic experience itself integrated in these systems. Here lies another problem concerning a different contemporary symptom, dependent from the seduction we feel for technology as an immunosuppressive viral infection which may leave us with some difficulties in understanding and analysing the contents, hence the cathartic effect of the new contemporary subjectivities as a boredom state (Priest cit Ross, 2013). Perhaps the fundamental problem of art and contemporary speech is the insufficiency art (ibid) against the neoliberalism and capitalism speed which increases the production of art and technology along with the technical anfuturistic scientific imaginary that are nothing more than symptoms of technology as power. Within the reality imaginary borders and considering all aesthetic permutations that challenge the laws of physics, of the world and its tangible objects, the events are assisted by the optical fibre speed and by the electrical energy power and its magnetisms where everything is projected and moved, everything happens and it is a duplicate reflex of the tangible world and its former medium, environments and landscapes. Here, the culture circulates within new borders supported by communities where new “Data Trash” (Kroker, 1994) values are being established, namely “a wavering event-scene: a violent interzone between the will to virtuality and battered (human) flesh” (ibid). What is most important to reflect on and which complements the post-digital is that the bigger the circulation of these real and virtual space concepts, the bigger the terminal, corporal static and multimedia body and the visual and audible speed which, on the one hand, are a symptom of the new communication technologies and computation in the digital expansion. With that being said, if the post-digital problem was not in the natural and constructive objects of artificialities or culture, it wouldn’t have the importance needed to become a paradox and a creative and existential worry supporting and stating our historic post-humanism^[3]“First, the posthuman view privileges informational pattern over material instantiation, so that embodiment in a biological substrate is seen as an accident of history rather than an inevitability … Continue reading or post-biological^[4]“Post-biology considers the body as a mosaic of biological, viral, technological, cultural and political dynamics, all meshed into one unstable pattern. In this model, the borderline between … Continue reading which reinforces its problematisation. In 1994, Arthur Kroker predicted the impacts of the digital in our society and its cognitive changes on the body, space and politics, extrapolating a speculation of what he already announced as a virtual class which would live a consensual hallucination (Kroker, 1994) through the digital in the big information highway.

Biochemical virtual reality: technological and aesthetical advancements towards the body without terminal by chemical and electrical stimulation of the brain

If the virtual reality devices or prosthesis affect the body in their connection to another technological instrument, which is the machine or the device, we easily conclude that there is a conditioning state. Its effects in terms of visual, audible or textual representations are based on figurative motives, which refer us to an artistic knowhow related to classic art with all its myths, legends and stories where the mind is taken to geographical and fictional narratives. Thus, we can think that the virtual reality works explore classical processes of understanding the artistic knowhow. Therefore, they are often a contemporary symptom in the arts which – not being able to foresee a future beyond the prosthesis VR glasses – is held captive in artistic experimentation with consensual, audible, visual and formal language historically assimilated for a broader audience with a generalised interest in the technological apparatus. However, it does not make a big impact for an audience more informed on the state of the art. The works created today only have a retro and pastiche effect and a lack of depth that does not question in any way the impacts of the digital and technology in the artistic production and its new materiality and interdisciplinary possibilities. It is also a condition of the advanced capitalism in which we live in today, which brings technologies and production mediums enhanced by the democratisation of technologies of the military complex in the social tissue with a contagious and standard effect lacking critical value. We should interpret the concept of contagion in a way other than a disease in its medical or broader sense related to biology. We can understand the concept as a way of exploring the idea of an anomaly associated to capitalism, technology, arts and culture in general. Thus, understanding the relations between industry, technology and sense of contagion and virus allows us to understand the absorption and contamination of anomalies and the hypocentre of the infection, with the virus as a linguistic element, of analogical or digital connection, creating a change in its host – which in this case of study is used to trace the origins of the multimedia body and its contagion in the artistic, aesthetic and critical speech in the arts. We can state that the available technologies were taken into consideration and before the need to advance with new possibilities of relationship with the body and its performativity, alteration and relationship with the technological and its perception schemes such as the VR, we decided to rethink the concepts and future possibilities of expanding it within our research area.

Drug design solution for a full immersion biochemical virtual reality

Image 2: Capsule. Hugo Paquete and Ana Santos. Laboratory of drug design and biochemical virtual reality experiences, 2019

Consequently, we came up with a technological solution more centred in the experimental chemistry and in the design of new drugs in pharmacology, namely a capsule with which we can produce aesthetic experiences we consider to be of truly virtual reality and which lacks any prosthesis, using the resources of the biological body. As a way of freeing the multimedia body and its performativity in which the body does not need to be the connection terminal. Therefore the concept of virus and infection was essential for us to build a reflection and a solution which is based in the control of the side effects of virtual reality experiences, which are the impoverishment of the performative dimension, the mobility constraint, the need for devices and the aesthetic obsolescence created by a CGI aesthetic of cinema and narrative which does not explore the full biological, chemical and electrical potential of the human brain and its metaphysics. Let’s say that the art of the future will deal with other techniques and exploring methods of experience and artistic object. This is the advancement we propose today in the post-digital and post-human context in the arts. With that being said, the way in which we pretend to develop our virtual reality experiences and aesthetic study of new ways of experience in the arts is through the use of chemical formulas with the support of the Pharmaceutical industry or other groups – public and private – who supports us in the design of these substances as well as in the experiment of the control of this type of narrative and symptoms we can obtain and create, in a way of directing the experience and conceive more appealing aesthetic products which activate the whole senses of the multimedia body, with no need for other type of device other than our capsules and its content. Analysing the used materials, we chose the MDMA^[5]The 3,4-methylenedioxymethamphetamine (MDMA), often known as ecstasy, is a psychoactive drug mainly used as a recreational drug. The desired effects include altered sensations and increase of energy, … Continue reading molecule as a foundation for other connections between molecules, with the purpose of developing new and more experimental designs as well as increasingly more complex virtual reality artistic experiences, which involves all multimedia elements, image as hallucination, sound and speech as sound hallucination and textual narrative between other manifestations on the body such as change of temperature, heart rate, anxiety, euphoria and other psychological and physical states hard to simulate in the more traditional virtual reality systems. In our research, the duration of an experience of a full immersion which tends to go from 3 to 6 hours – enough time for the user to experience any aesthetic experience of biochemical virtual reality which we consider satisfactory – is also very important. These experiments are ways of testing our biochemical virtual reality concepts which we present as a new paradigm to be artistically tested in the field of interception between the arts, design and technology.

Image 3: MDMA Molecule. Hugo Paquete and Ana Santos. 2016

“How Much More Lifelike Can We Get?” Technical implosion for the experimental self- preservation

Following a politics implicit in the pharmacological concepts, the altered state of the body takes it to another analytical stage over which such syntactical effects are projected to a liminal state (Turner, 1974), where a ritual and continuous passage is presented between death and reappearance, more specifically between the dimensions of virus, catharsis and infection. It is in this in-between “VR” place where the presence of the multimedia body in its space and time gains importance between such apparatus presented here as a terminal body. Such has as a main purpose to fill in the paradox presented in the VR devices which are categorised as an anthropologically non-defined place, since this is similar to a kind of a passage place such as a speeding highway of entrance and exit of bodies in automatic mode. This means they only stay there with the purpose of getting somewhere. It will be interesting to verify that this same place consequently does not also exist, leaving therefore the body in a pending state of arrival and departure to absolutely nowhere. Immobile, this body without place becomes a dummy of itself, where the body is prepared for the accident and presented as a simulation and automaton.

The academical focus redirected for the body studies reveals that this is an emergent contingency and that the analytical twist regarding the notion of collectivity of a class of bodies, virtual and terminal subjects is notorious, being this the mutation result that the meaning has suffered due to the technological interaction, namely of the operating modes of connection through technological intermediation. With that being said, we are witnessing an increasingly higher interest in analysing the body through biomedical systems. Therefore, we can suggest that there is a concrete need of rethinking the biological notion of body, having in mind that today is imperative to do so following the biopolitical systems through which it was produced. In counterpart, such biomedical systems deal and embody the notion of body in its possible elasticity, exalting the respective physicality since they deal with the continuous awareness of its existence, whether in pain, disease or trauma. It is in this moment that the body reappears as possible to be analysed, since it finds itself in a state of consciousness exaltation, not only personal but also by biochemical operation which we propose as our design drugs. The body therefore duplicates itself as a virus and infection in the social systems that reproduce it, as Le Breton explains in the chapter “The pharmacological production of self.” Before such scenery, the provocative fissure is in the rescue of collectivity associated to the experience by biochemical induction of design drugs to free the multimedia and terminal body of the ocular-centrical devices. So that VR simulation experiences completer and more centred in the subjects’ biology and not dependent on mechanisms can be developed. This analysis is also translated to the space of artistical experience, since the body has put itself in a radical position where the experience emerging from the body is faced as secondary, having in mind that without consciousness of itself it is not possible to separate both sides because this same space does not take the body to a moment associated to any state of spirit which gives back the notion of physicality and place belonging. Furthermore, we appeal to a biochemically commodifying immersion of the senses in a way that under the effects of drugs and pharmacologies designed for aesthetic and artistic purposes the VR corporal and performative experience is fully rescued and developed as immersion and synaesthesia in the human sensorial system without resourcing to other devices.

Conclusion

The multimedia body suffers from “infections” and inherent conditions to the technological apparatus, “prostheses” and “viruses” where pseudo virtual subjective perception states are simulated. Therefore, the ‘drug design’ as we suggest is created to explore more complex artistic and technological virtual reality systems. Expanding the post-digitals free from the visual centrism and from the computational mediums of simulation.

References

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Le Breton, D. (2003). Adeus ao Corpo: Antropologia e sociedade. Brasil: Papirus.

Megen.V.E. (1998). “ASA: Access All Accidents.” Publicado em, The Art of the Accident,. Holanda: V2_, Lab for the Unstable Media.Parikka.

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Turner, V. (1974). “Liminal to Liminoid, in Play, Flow, and Ritual: An Essay in Comparative Symbology.” Estados Unidos: Rice Institute Pamphlet – Rice University Studies, 60, no. 3.

Kroker, A. and Weinstein, A. M. (1994). Data Trash: the theory of the virtual class. Estados Unidos: St. Martin’s Griffin.

Virilio, P. (2000). A velocidade de Libertação. Portugal: Relógio D`Água Editores.

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Biography

Hugo Paquete (1979) is a Ph.D. student: Ph.D. in Digital Media Arts. Aberta University and University of Algarve, Portugal. Master in Contemporary Artistic Creation, (UA, 2014). (CIAC): Center for Research in Arts and Communication, University of Algarve, Aberta University.

Ana Santos is a co-author. She is an artist and Ph.D. student: ISCTE-IUL Department of Anthropology, Lisbon, Portugal. Researcher at CRIA-Centro em Rede de Investigação em Antropologia. Master in Contemporary Arts (FBAUP).

© 2022 Hugo Paquete and Ana Santos, used by permission

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Technoculture Volume 12 (2022)