“Everything is an interactive experience where everything you see is a thing you can be, from animals to planets to galaxies and beyond. Travel between outer and inner space, and explore a vast, interconnected universe of things without enforced goals, scores, or tasks to complete. Everything is a procedural, AI-driven simulation of the systems of nature, seen from the points of view of everything in the Universe.Learn to change what you are to create worlds within worlds within worlds, or let go any time to allow Everything to take over and produce a never ending documentary about the world you live in.”
“The Unknown Fields Division is a nomadic design research studio that ventures out on expeditions to the ends of the earth to bear witness to alternative worlds, alien landscapes, industrial ecologies and precarious wilderness. These distant landscapes – the iconic and the ignored, the excavated, irradiated and the pristine, are embedded in global systems that connect them in surprising and complicated ways to our everyday lives. In such a landscape of interwoven narratives, the studio uses film and animation to chronicle this network of hidden stories and re-imagine the complex and contradictory realities of the present as a site of strange and extraordinary futures. Here we are both visionaries and reporters, part documentarians and part science fiction soothsayers as the otherworldly sites we encounter afford us a distanced viewpoint from which to survey the consequences of emerging environmental and technological scenarios.Previous expeditions include; The Texaco oil fields of the Ecuadorian Amazon; the Galapagos Islands; Area 51 and other US military outposts; A Container Ship across the South China Sea; Madagascar’s ‘wild west’ sapphire pits, The frozen Arctic sea ice, far north Alaska; The Chernobyl Exclusion Zone, Ukraine; Baikonur Cosmodrome in Kazakhstan, the gold fields of the Western Australian outback and Rare earth mining in Bayan Obo, Inner Mongolia.”
Video & text: Unknown Fields.
“The fall of Empire, gentlemen, is a massive thing, however, and not easily fought. It is dictated by a rising bureaucracy, a receding initiative, a freezing of caste, a damming of curiosity—a hundred other factors. It has been going on, as I have said, for centuries, and it is too majestic and massive a movement to stop.” – Isaac Asimov, Foundation.
Pic: Great Fire of London, artist unknown.
“Targeting Jupiter’s icy moon, Europa, this expansive sculpture exhibition offers an unprecedented view into Tom Sachs’ extraordinary artistic output and advances his quest to find extraterrestrial life with bricolaged sculptures. The exhibition will fill YBCA with everything his astronauts need to successfully complete their voyage—including the Mobile Quarantine Facility, Mission Control, the Apollo-era Landing Excursion Module (LEM), and special equipment for conducting scientific experiments—immersing the audience in a universe of sculpture occupying the entire downstairs galleries in addition to YBCA’s public spaces. Space Program: Europa will feature live activations of the Europa flight plan by Sachs’ astronauts during the opening and closing weekends. In these demonstrations, the astronauts will showcase the rituals and procedures of their mission, including the cultural export of chanoyu, the ancient art of the tea ceremony.
“Tom Sachs (b. 1966, New York) is a New York–based sculptor known for his work inspired by icons of modernism and design. Using modest studio materials, Sachs creates parallel universes incorporating semi-functional sculpture, sometimes deployed by the artist and his studio assistants for interactive projects, as in Nutsy’s (2001-3) and Space Program (2007 and 2012). YBCA, San Francisco
“On the monitor before us, cryptic fragments of source code flash by. While earthly physicists still struggle to find a unified mathematical framework for all phenomena—the No Man’s Sky equivalent already exists. Before us are the laws of nature for an entire cosmos in 600,000 lines.
“The universe begins with a single input, an arbitrary numerical seed—the phone number of one of the programmers. That number is mathematically mutated into more seeds by a cascading series of algorithms—a computerized pseudo-randomness generator. The seeds will determine the characteristics of each game element. Machines, of course, are incapable of true randomness, so the numbers produced appear random only because the processes that create them are too complex for the human mind to comprehend.
“Physicists still debate whether our own universe is deterministic or random. While some scientists believe that quantum mechanics almost certainly involves indeterminacy, Albert Einstein famously favored the opposing position, saying, “God does not play dice.” No Man’s Sky does not play dice either. Once the first seed number is entered into the void within the program, the universe is unalterably established—every star, planet, and organism. The past, present, and future are fixed indelibly, with change to the system only possible from a force outside the system itself—in this case, the player.
“In one sense, because of the game’s procedural design, the entire universe exists at the moment of its creation. In another sense, because the game only renders a player’s immediate surroundings, nothing exists unless there is a human there to witness it.”
Text: Inside the Artificial Universe That Creates Itself, Atlantic Monthly
“We were in a lounge on the second floor of the renovated studio; concept art hung beside a whiteboard covered with Post-its. The furniture was bright, simple, IKEA. Sitting in front of a flat-screen TV the size of a Hummer windshield, Murray loaded up a demo of the game that he had created for E3: a solar system of six planets. Hoping to preserve a sense of discovery in the game, he has been elusive about how it will play, but he has shared some details. Every player will begin on a randomly chosen planet at the outer perimeter of a galaxy. The goal is to head toward the center, to uncover a fundamental mystery, but how players do that, or even whether they choose to do so, is open to them. People can mine, trade, fight, or merely explore. As planets are discovered, information about them (including the names of their discoverers) is loaded onto a galactic map that is updated through the Internet. But, because of the game’s near-limitless proportions, players will rarely encounter one another by chance. As they move toward the center, the game will get harder, and the worlds—the terrain, the fauna and flora—will become more alien, more surreal…”
“Each planet had a distinct biome. On one, we encountered a friendly-looking piscine-cetacean hybrid with a bulbous head. (Even aggressive creatures in the game do not look grotesque.) In another, granular soil the color of baked salt was embedded with red coral; a planet hung in the sky, and a hovering robot traversed the horizon. “Those are drones,” Murray said. “They will attack you if they find you killing animals or illegally mining resources.” On a grassy planet, doe-eyed antelope with zebra legs grazed around us. Mist rose off the grass as I headed down a ravine shaded by trees. “This is a place where no one has been before,” Murray said. The biome was Earth-like in light and in color, naturalistic. As I descended, the ravine deepened until rock façades took shape on either side. In spite of the work’s semi-finished state, the world was absorbing. “I’m sorry there’s no game-play element on this planet yet,” Murray said. His mind turned from the screen in front of us—the six planets, tidily assembled for the demo—to the full version of No Man’s Sky on the operating table on the studio’s first floor, below us. Until many improvements were fully realized, the whole of it would inevitably look worse than what we were seeing. “You can lose sight that it once looked like this,” he said.”
Text: World Without End, The New Yorker.
Image: Thomas Cole, An evening in Arcadia, 1843/ Wadsworth Atheneum, Hartford, CT, USA
“The belief that an event, a situation, or a set of people is controlled by unknown or secret forces, which usually have unsavory intentions. The conspiracies are supposedly intended to seize or hold political power, keep shocking information from the public, protect parties guilty of a crime, or overthrow social institutions. Conspiracies may be controlled by unidentified figures or by known institutions such as the CIA, the FBI, or the U.S. government; they may refer to known religious groups, such as Jews or Catholics, or they may assume an unprecedented new cabal; they may be attributed to aliens, communists, racial or ethnic minorities, or to a stranger. What all conspiracy theories have in common is the idea that common people have gained secret knowledge that a powerful elite is trying to keep hidden and that uncovering the conspiracy will help explain things that were previously hard to understand.
“Conspiracy theories develop for several reasons. They are a way of making sense of information that is difficult to organize or comprehend. When logic and rationality do not provide a good story to explain something, conspiracy, attached to a series of seeming coincidences, can do the job. Events that appear random and hard to reconcile with known causes can be brought under control if a conspiracy is used to explain them. The effects of actions by large institutions, such as governments or corporations, are difficult to explain because of their complexity; conspiracy can account for their actions in a comprehensive way. Conspiracies are hard to disprove because any opposition to a conspiracy theory can be seen as another part of the conspiracy and as an element of a cover-up.
“Conspiracy theories are popular ways to talk about the unknowable. Big, disturbing events, such as the attacks of 9/11 or the John F. Kennedy assassination, spawn conspiracies because they seem too random or unexpected. The 9/11 conspiracy theorists were not satisfied with the explanation that Al Qaeda operatives were responsible and have developed a series of theories that blame the U.S. government. The Kennedy assassination has nurtured decades of conspiracy theories, in part because the government’s official explanation (in the Warren Commission Report) contained inconsistencies and inaccuracies. Theories such as the crashing of an alien spaceship in Roswell, New Mexico, in 1947, and the subsequent transport of alien bodies to “Area 51” in the Nevada desert, have become acceptable ways of talking about encounters with the unknown. For more information, see Becker (1994) and Shermer (1997).”
Text: Conspiracy Theory. Larry E. Sullivan, The SAGE Glossary of the Social and Behavioral Sciences
Image: Ant Farm & TR Uthco, The Eternal Frame, 1975.“The Eternal Frame was a project by Ant Farm and T.R. Uthco, 1975, that resulted in a 24 minute video work about the JFK assassination. At the center of this work was a re-enactment of the tragedy produced and performed for the camera, but unexpectedly many bystanders showed up to watch and were interviewed.”