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(ILR) Laaraa (Lara Geary)


Case Study


My proposal has two strands. These are very much knotted together in my thoughts, so I have cut them apart to treat them slightly unconnectedly. This will allow me to begin on two distinct pathways. There will inevitably be many knots and knot-ings along the way. I propose to find ways to express a sense of being and the potential of expanding this being by breaking down language-driven perceptive limitations and how living is lived. The first strand Wet-ware, biocomputing, the multi-dimensionality of the space and energy of organoids, and the collapse of the body into the brain. I will consider the demands of energy-hungry algorithms and models on current technology and their frameworks. Drawing on the known energy forms these models use is rapidly outstripping that of countries, an excess that has ignited a frenetic search for solutions. One such is using brain cells in so-called organoids to power computer chips. The second strand Looking at the expansiveness of being through torus plasma energy and the multidimensional space of the backrooms phenomena. This project begins with a desire to connect the space of being with the concept of angst and the uncanny with an inert phenomenon that existed for a short period from 2019 until its aura was stripped away in 2024. I will use the backrooms to consider the notion of the liminal, Khora, fields, and indeterminacy principle, which is itself a phrase diminished through translation, which I will also discuss. Both pathways radiate or pivot from this beginning. The human is followed as a torus, a body alive until its heart ceases to beat, a heart yielding plasma fields. The space of my pulse in the beat of the liminal, the torus kinetic force of being. Circles, rotation, overlapping, knotting, and repeating strokes in drawings flow from a movement I feel here. I jump almost like a reflex to suggest this is around me, but that isn’t enough to describe it; this moves and I am somehow connected, in or with it. Something is seen; I saw it when my eyes were closed tightly; there it is, very close to the eyes, whilst it is also felt with and heard way behind my ears. This happens as I sense myself as somehow ungrounded, hovering—not quite floating—impossible seemingly for the embodied being. My pulse radiates in my neck as a sound—a fizzy, high-pitched variant—radiates from a point where my ear canals meet. It feels like the centre of my head. My heart beats quietly, though felt; it burns my chest a little. I am aware of a beat further from my body, reaching my skin. The mathematics used in one of my preferred mediums gives me access to this space I am trying to describe. A space between, a force of being, a pulse from a beating heart always on the brink of its last bbuumm into or with the beating non-space, perhaps this space I can refer to as Khora. The geometry of my doodling, drawings, and sketches are remarkable forms. I have obsessively sought something about the torus, unconscious dominantly at first, for many years of my life. In more recent years, this drawing with hand was joined by digital doodling, sketching, and drawing; all have been generating energy, a force to draw what is there and what I feel. I am told that ever since I held a pencil, I have drawn this shape: the circle closely followed by doughnuts—torus’, the number 8—infinity. When I make these drawings now, I am aware of the following or being led by a flow, a beat, a pulse, sometimes a flicker, and increasingly, they are led to calm my beat. I will look at the amazing geometry of a torus, two rotating circles in space, to examine the energy, the possibilities of the power, force, and forms, as well as non-forms- the gap or the hole is vital they present. I will use the backrooms to visualise space and angst, which are difficult to articulate and be with—an exploration of a torus as a human form and the energy known as torus plasma fields.


Model


This residency is a time for me to produce art-based research and work; I envisage a piece of fictional writing and a short film. Whilst fictional, it engages with philosophical, psychoanalytical, sound and technological theoretical frameworks with a good amount of trying to be present in a temporal body to think about what that might be about.

I am following some particular moments I have and hope to experience again in two specific moments or situations. These are curious as one always happens in a space between a-wake and a-sleep. A situation of stress induces the other. Each has opened my perceptions of what it is to be alive and what is lost by an inability to speak it. But as language is the best tool for me to try to engage these experiences, I have been writing about them whilst also realising these forces I have experienced for a long time and are what brought me to make art.


The goal is to combine writing a fictional reflection on what has or might have been to think about what could happen with organoid technology in the service of some humans.


The work will combine writing, sound, generative visuals and audio-visual sketches. I anticipate creating a short film that delivers the story.




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