Welcome to the 21st century, a world that is 70% urbanized and globally connected, cities under full-blown surveillance in which empty cars travel without a steering wheel; where architectures sparkle with a thousand invisibility and lets itself be penetrated by the simple predictive will of the cyborg. On an Earth terraformed by the best cybernetic intelligence, the black box has become the retro-fecundated alien of a universe to conquer.
D-503 draws, photographs, films, and writes. With and through the machine, he looks for visibility, living resonances that must allow him to hold onto reason. It is a hallucinatory decoding of mechanic sedimentation—then an experimental recoding by cut and pick-up. It is a prismatic nomadism inside the camera obscura that is ended by breaking into infinite bursts of light; bursts that are near or far, modeled, simulated, and arranged in a Vertov-style narrative montage, blocks of images and text that then define operative fiction of what is possible to tell.
These are fictions by escapement and displacement—through baroque worlds open on our interiority made of virtualized mental walks. It’s a paranoid leap out of the enclosing-machine—a panoptic reversal that offers the conscience an exploratory vision of proliferative and devouring exo-architectures of dreams under control.
As J.G. Ballard reminds us, don’t go crazy. Looking for the spaces that are still allowed us to roam through freely. D-503 is nomadic and multiple; it is the Integral that is headed toward the forever-distant horizons, a voyage of encounters and wonderment.