Paracetamol Overclock
Air
compressor, polyurethane hose, solenoid valves, venturi vacuum, pneumatic
cylinders, thermoplastic elastomer, latex, silicone, aluminium sheet, steel
wire, polyurethane foam, plaster, polylactic acid, dc motors, epoxy resin,
electronics, other mixed media, dimensions variable.2026, exhibited at ROSALUX, Berlin, 27.05-31.05.26
Paracetamol Overclock is a makeshift hermetic system that recodes spasms, microstimuli, and autonomic processes into a rigged choreographic narrative enacted by the scattered body of an electro-pneumatic somnambulist gamer. As an exercise in fictional computation-as-performance, the work presents the dynamics among movements, gestures, or sounds between separate agents, regardless of whether scattered or organised, as foundational discrete values for the rigging of a ‘something’: a task, a function, an apparatus, a drill.
Adopting and refitting imageries from puppetry, stage-design, and props, the work establishes either one or multiple characters in a simultaneous manner: on one hand the gamer, nodding to the high-skill competitive world of e-sports, synthesizes a funneling of the body as a reflex-tuned armature, a rigged-structure responding to microstimuli through involuntary contractions; the somnambulist, on the other hand, presents the central nervous system hijacked by the Solar Plexus, or cerebrum abdominale, through a spasmic effigy made out of a 1918 diagram of the bundle of nerves and ganglia: a regression into a more rudimentary form of life short-circuiting the brain. The somnambulist gamer, a union of these characters, is the personification of the tic-rig: it plots through twitching, cramping and breathing, enacting a scripted, retrojected choreography that bootstraps the computational puppetry: a visibly seamed model of the world as Rig.
Open to a multitude of meanings, rigging can be understood as the assembling of technical support structures, to make something appear, to coat and present (to ‘make-up’), to fit something, or to prepare for movement (as in sailing), but also as the dishonest plotting of something, to fix a situation. Rigging as world-model, to rig as to have strings-pulled.
AGGREGATE BODY
Concrete, reinforcement steel, mineral oil, black iron oxide, fumed silica, glass, acrylic plexiglass, steel wire, 2-channel 16mm colour & BW film transferred to video.Dimensions Variable
Rainbow Loop: Artsite Soje, Daejeon, South Korea, 2025
Curated by Hyungjoong Kim, Jung Hsu, and Nick Klein
AGGREGATE BODY is an installation engaging with the mechanics of desubjectification through the lure of space, a phantasmagorical encoding of the progressively corroding thresholds between the psychic apparatus and the world, technical fictions and reality, and the animate and inanimate. By means of technologically-mediated assimilations into space, the materials and images comprising the installation establish synthetic articulations and diverging time-scales, entering into composition with a landscape where they are presented as geo-industrial residues.
In a dialogue made out of convoluting leaks between computer-generated images of the Crystal Palace, nested artificial environments where phasmid insects’ dwell, and a diagrammatic monolith of concrete and steel, the discontinuities and associations of conceptual scaffoldings, histories of technology, exhibitionary complexes, inorganic entomology, and bio-mythographic compositions manifest into a skeletonizing topological cluster of obtuse gestures.Katabasis: Negative Hallucination
Commission by Dystopia Sound Art Biennal. Subtexts: Kunstraum Potsdamerstr., Berlin, 2024
A green-screen ghost wanders through a space, reenacting a vermicular katabasis. It lurks and haunts its margins, disintegrating itself into its surroundings through an intensive corrosion. It does not act deliberately, but automatically. Progressively, in his effecting of an obfuscated routine, worms start traversing its non-body, working as an index of the recapitulatory events of phylogenetic memory: a projected anamnesis or backward recapitulation of forms of life. The worm-ghost inhabits the subterranean compartments, working to delocalize itself and its surroundings, much like in a tragic plutonic descent, guiding the crossing of the threshold to an underworld: the world of spectres, the inorganic, and primitive life forms.
In accounts of Negative Hallucination, the subject experiences a gap in reality, actively erasing an object of perception while unconsciously taking into account its physical extension; in other words, the object is perceived into another realm of existence.
Script with text excerpts from Georges Bataille, Roger Caillois, and H.P. Lovecraft.
A witness that hums
PDF diagramPart of the online publication Living Sculptures, made in the context of Jenna Sutela’s seminar at the Universität der Künste Berlin, 2024-2025.
Collected Fictions (1874-1970)
Plaster, sand, water, electric pump, plastic hose, makeshift pond, glass box, steel wire, synthetic sound dual mono, omni-directional speakers, stick insects (phasmatodea).Dimensions Variable.
SoundsAbout Gallery / Projektraum Zwitschermaschine: Berlin, 2023
Curated by Júlia Koffler
Collected Fictions (1874-1970) exhibits objects, situations, images, and living entities as a defective theater: puppet theater, theater of operations, or mise-en-scène, a dramaturgy as the product of a memory from the leap of a neural interval.
The exhibition mechanism is exploited as a diffractive mimicry through a dissociation of events placed as obfuscated entities in the space, forming a landscape out of contingency, a time-coded spinal memory extending itself as a cast of damaged spatial perception. The situations present the uncertainty of time-scales: is something being stored or called? Are we witnessing the exhibition of past, present, or future events?
Through the assimilation of artificiality in the exhibition, pitfalls are exploited as mechanisms for dreaming “spaces that spasmodically poses us”, as Roger Caillois wrote. Following the research of Dr. Alan Bodkin on Neuronics, a science that “sets out to empirically map the relation between psychic organization, biological phylogenesis, and environmental stimuli”, this exhibition proposes to reveal the possibilities of deceiving the archaeophysical processes of the body.
Lie flat upon the Earth that I might feel her against my Heart
16mm film, color, transferred to video, 2’54”2023
Short film as a collection of images from the Museum für Naturkunde Berlin, with a synthetic reading from Gustav Flaubert’s The Temptation of St. Anthony.
Works for live electronics made through a no-input feedback system modulated by multi-scale feature extracted signals, i.e. both audio and sub-audio signals from sound system components, and a machine listening arrangement for timbral analysis consisting of spectral shape descriptors (‘centroid, spread, skewness, kurtosis, rolloff, flatness and crest’), mel-frequency cepstrum coefficients, and pitch detection (FluCoMa), recursively applied as modulation signals through an output combinatorial matrix.
Machine Anamnesis
Prensa Manual, 202212” clear lathe cut in edition of 25 copies. No label/etchings.
Cut by DISC_ARCHIVE in Berlin.
Screen printing by Et al. Press.
At a moment when the distinction between algorithmic and human cultural production may be irrevocably blurred due to the increasing sophistication of AI technologies, it has become both commonplace and irrelevant to question what will become of the human. Machine Anamnesis asks us to instead consider a neglected relation concealed by this formulation; that is, what may become of the machinic when it is unfolded according to its own operative dynamics. In this work we can witness a process set into motion from a source text that interprets its output across a series of transductions. The results of this process, then, are at once the recall of an essential invariant and the catastrophic forgetting of its meaning.
Machine Anamnesis is built upon de- and re-compositions of materials through recursive methodologies. Devising synthetic voices as recalling mechanisms, false patterns are identified and dumb-forms emerge.
Ensemble Appareil Plays The World of Early Music: From the Middle Ages to the Dawn of the Enlightenment [Naxos - 8.554770-71] (CD,1999)
Prensa Manual, 2020Composed & Recorded on February and March, 2020.
Ensemble Appareil: Alto Saxophone, Trombone, Bassoon, Viola, Cello, Harp, Guitar, Accordion.
Credits
Orchidea framework for assisted composition and orchestration: Carmine-Emanuele Cella.
Artwork design by Matías Coduri.
Alalia
Gauss PDF, 2018Sound piece that wanders between respiratory disease (inhalation of chemicals), loss of language (as a mechanic correlating air and speech), and material coating to replace what’s missing (to patch or to replace as a simulation).
For guitar, amplification and electronics. An analog processing system that performs an input signal while denying the performance that is being received by constantly outputting dubious feedback of the input gestures by severely compressing, bypassing, or applying nonlinear operations to the signal is programmed. The performer must manage to stay motionless, nevertheless also responding.
The recording is then affected, as data, by copy-pasting the whole Wikipedia entry of “Silicon dioxide”. The performance, in this way, can be patched by filling the blanks with silica.