LORRR presents Monumental Transmission
The LORRR project is a performative science fiction narrative tangential to the 2.8B420K monument project. LORRR is an artist cleric from the year 4247, a senior member of the ongoing mysterious chapter of Monument protection. These people are believed to be the descendants of the original isolated community of caretakers, museum guides, and shop assistants that were resident in the visitor centre connected to the Monument complex, in what was then known as the Yilgarn Craton of Western Australia. The original purpose and meaning of this monument have been eroded and reinterpreted over time, but there remains a belief in its representation of waiting for an end. They know, at least, that they are the curators of collapse. Some suspect that LORRR is a glitch, a rogue element of the order with rituals that corrupt the official incantations. LORRR expresses dedication and reverence towards the Monument through the means of anchoring ritual to frequency and pulse. LORRR’s sonic practice emerges from the ruins of ecclesiastical sound and the wreckage of rave culture, fusing sacred minimalism with distorted high-tempo noise. It is a late-human devotional form, aligning pleasure and audience with structural impact—for communion with the Monument, and through it, with collapse. Embodied in these vibrations are the ideas of entropic erosion, the passage of deep time, and the presaging of something terminal. Each performance is a sound-based exegesis on thermal death and observational absence. LORRR believes that collapse must be audible and that sound can model the end before it arrives. The performances are pre-echoes of the extinction event—a training for absence, a sonic simulation of post-biological grief.
Andy Gracie [UK/ES]
Andy Gracie’s work has featured an ongoing evolution of disciplines, including installation, robotics, sound, video, biological, and electronic media. He looks for points of separation between knowledge systems, including arts, sciences, and mythologies, in order to create situations of exchange where new understandings, knowledge systems, and imaginations can develop. His work commonly involves reactions to and engagements with space research, cosmology, and deep time from the perspectives of semiotics, simulation theory, and apocalyptic or post-human scenarios. Through a rigorous process of research and experiment, his work strives to uncover the deeper meta-narratives and poetics of our human condition. He has exhibited internationally in both solo and group shows, presented regularly at conferences and seminars across the globe, and has published numerous articles and papers. He has recently undertaken residencies at CERN, the Institute of Cosmic Sciences at the University of Barcelona, and the Institut de Física d’Altes Energies. His large-scale installation ‘Autoinducer_ph-1’ received honourable mentions from VIDA and Ars Electronica in 2007. The ongoing project ‘Drosophila titanus’ received an honorary mention from Ars Electronica in 2015. Alongside his artistic practice, he co-founded the open art/science initiative Hackteria, an international network of artists and practitioners with a strong educational presence. He has co-produced, hosted, and curated numerous exhibitions, workshop programs, and art/science crossover events internationally. He is currently involved in a long-term collaboration/residency with the Institute of Cosmic Sciences at the University of Barcelona, where he is an official collaborative member.
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Photo representing the performance: Andy Gracie.
