It seems that more and more, people are set on finding origins in order to explain their existence. Before modern science, this was the duty of the origin myth. Like the Proto-Indo-European origin myth of the dismemberment of Yemo by Manu, these myths string together mythical, larger-than-life elements and archetypes to explain our natural life. Comparing origin myths from all over the world, it seems that they were written by one consciousness, an AI stringing together stories of family, birth and death, mythical animals,

Result #1

It seems that more and more, people are set on finding origins in order to explain their existence. Before modern science, this was the duty of the origin myth. Like the Proto-Indo-European origin myth of the dismemberment of Yemo by Manu, these myths string together mythical, larger-than-life elements and archetypes to explain our natural life. Comparing origin myths from all over the world, it seems that they were written by one consciousness, an AI stringing together stories of family, birth and death, mythical animals, vernacular cities, and ancient cultures. In one version of the origin myth, the earth and sky were completely covered by clouds. The sky was a plainer sky, the earth a duller one. In other versions, the sky was covered in clouds and the earths surface was a thickly painted gray, leaving only a few marks where a human body has been buried. This is the landscape of the prehuman era—a barren wasteland, a vast expanse of emptiness.In The Last Days of Babylon, 2011–12, Zhuang Jianzi explored the material and symbolic possibilities of the origins myth. In the end, the story was changed. The original origin myth had to be kept alive to serve as a proof of the possibility of creation. Zhuang has made an explanation for it, one that he has had to explain in a personal way: The origin myth was also the origin of his name. For Zhuang, the name was an idea that he had to carry with his own body, since he had no other name to take on.The artist recited the stories of his own origin story in a dense, poetic, and sometimes garbled, rhyming monologue. It was impossible to discern the exact time of the recording, but one could hear it carefully and in a very profound, low-tech way. A voice that had been a part of his own mind but that had no sound came through to clear the space and set the stage. The artist could hardly have known that the voice would eventually intrude into his own private domain. The voice could only be heard in a whisper.This silence was echoed in the soundscape. Sound was the sonic equivalent of the horizon, as it seemed to be coming from everywhere and everywhere. It was not just a description of the world. It was an invitation to participate in the world. On the wall around the soundstage, Zhuang sat on a bench, dressed in a kind of figure-ground style.

Result #2

It seems that more and more, people are set on finding origins in order to explain their existence. Before modern science, this was the duty of the origin myth. Like the Proto-Indo-European origin myth of the dismemberment of Yemo by Manu, these myths string together mythical, larger-than-life elements and archetypes to explain our natural life. Comparing origin myths from all over the world, it seems that they were written by one consciousness, an AI stringing together stories of family, birth and death, mythical animals, vernacular artifacts, and the abundance of animal imagery, all in a single narrative, a one-dimensional one at that. We have been programmed to see all the elements that constitute our cultural origin in the same order. Of course, all this is not about the origin myths of our ancestors. In fact, it is not the origin myths but AI's creative work that is the genesis of origin myths.In the meantime, the art world has been busy bringing together the traditional, the modern, and the modern. And, as a result, we have been exposed to a variety of differing voices. There is a large and diverse group of artists who have worked in a postmodern and postmodernist way. Some artists, such as Michele De Luca and David Drei, have worked in an oppositional, anti-art way. Others, such as Gego, have used art as a tool for confronting the structures of power. The work of these artists has been recognized by the artistic and intellectual community as one of the strongest in the world. They have changed the face of art and society. They have not only broken down boundaries between painting and sculpture, they have also managed to make them seem more porous. They have not only created new models of reality, but also have managed to disturb our preconceptions about the world of art.Their work in this exhibition, entitled Project, not only challenges the status of the art object as a neutral material, but also refers to the object as a sign that symbolizes the human condition, and that also plays a role in the creation of a world. Gegos work is a powerful demonstration of the possibility of conceptual art that does not rely on the traditional esthetic of esthetic beauty. This is what is needed in order to break down the barriers between subject and object. The artist has chosen to work with language, which is something that is new to her, and which her work has already demonstrated.

Result #3

It seems that more and more, people are set on finding origins in order to explain their existence. Before modern science, this was the duty of the origin myth. Like the Proto-Indo-European origin myth of the dismemberment of Yemo by Manu, these myths string together mythical, larger-than-life elements and archetypes to explain our natural life. Comparing origin myths from all over the world, it seems that they were written by one consciousness, an AI stringing together stories of family, birth and death, mythical animals, vernacular cultures, and religions.The artists in the show, including Patrick Tuoh, explored the problematics of the origin myth by taking it as their topic. They constructed a wall around a small wooden bridge made of wood with a small boat at the top. The bridge, like the creation myth of man, was an allegorical metaphor for the origins of the cosmos. Tuohs bridge, constructed of multiple struts and struts, gave the impression of being the same as the bridge in the proleptically named temple of Enoch. The two bridges reminded us of the winding path that the ancestral tree leads down to the ocean. The artist, however, turned the two bridges into a pair of eyes and a pair of ears, in a gesture of protest against the ascendancy of technology. The eyes looked out to the viewer, while the one on the left pointed downward toward the ocean, the other up toward the sky. In this gesture, Tuohs cross-cultural awareness is also visible. The bridge is a metaphor for the descent of the soul into the body, and the temple is a metaphor for the ascent to heaven. These are symbols of the two realms, the higher one of consciousness and the underworld.The bridge was decorated with an alabaster-and-alabaster-glass construction that, through the various layers of paint, looked as if it were made of clay. On top of this constructed bridge was a small wooden ladder, made of wood, and an old-fashioned rope ladder. This work, titled Bridge to the Underground, was an analogy to the dark and the light, for Tuohs bridge, like a rationalistic system of thinking, is divided into three parts: one is a bridge, the other is a ladder, and the third is a rope ladder. In the upper part of the bridge was a large structure, which was covered in a textured surface, suggesting a wall in a church.

Result #4

vernacular civilizations, and the sacred from the high reaches of the imagination. The relationship between the human race and machines was the most obvious manifestation of this relationship. But what explains the fascination of our current obsession with origins? Is it that the past is made to seem less interesting than the future? If so, this would be a mistake.The origin myths are the very basis for our modern, internationalist belief that cultures are autonomous from their history, and that their value is determined by what can be deduced from the present. This is the basis for the preservation of our early, primitive cultures from extinction, as well as the preservation of our modern cultures from extinction, as the pre-Internet world. In our digital era, origins, like digitalization, are increasingly coming to the fore.

Result #5

It seems that more and more, people are set on finding origins in order to explain their existence. Before modern science, this was the duty of the origin myth. Like the Proto-Indo-European origin myth of the dismemberment of Yemo by Manu, these myths string together mythical, larger-than-life elements and archetypes to explain our natural life. Comparing origin myths from all over the world, it seems that they were written by one consciousness, an AI stringing together stories of family, birth and death, mythical animals, vernacular language, and mythological figures. In our age of automatism, it is as if the origin myths were replaced by the origin myths of computers and mass communication.When these stories take on an emotional, physical, or symbolic quality, they do so in an almost overwhelming way, even as they are simultaneously terrible in their brutality. If the origin myths have become so pervasive, how can they be reconciled with our technological, neurotic world? This question is posed by the liveliest of the origin myths, the one that speaks of the vernacular of animal sacrifice and of the ancient Greek connection between animal and human. The liveliest origin myth is the one that informs the new breed of aliens that we are experiencing. It is that of the prehistoric hunter-gatherer society. When we look at our modern evolution, we see that many of our social customs and beliefs, our cultural consciousness, have been shaped by a profound knowledge of the vernacular. It is as if we had made the same conscious decision as the prehistoric hunter-gatherer society to destroy our own vernacular and to evolve our own. However, we are not yet technologically evolved enough.We are not yet biologically evolved enough. How can we live in a world where we can communicate with each other in a manner that is intellectually and emotionally intimate? The primal origin myth is not sufficient to solve this problem. In this world, the ultimate communicator is not a computer but a human being. We need a new communicator, a person who can communicate directly with us and with our own primal origins. We need a consciousness of both primal and modern origins. We need a conscious awareness of the vernacular and of the connections between those origins and the world of today. It is precisely through such awareness that the primal origins myths can be rescued from their context and brought to our understanding, as well as their allegory of the power of a single word. We need a consciousness of our origins.

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