Mimosa is a family of plants, folding up or flattening out in response to the presence of viewers. From Latin “mimosa pudica” – shy, bashful or shrinking also called Sensitive Plant, is a creeping annual or perennial herb: the compound leaves fold inward and droop when touched or shaken, re-opening minutes later.

Web installation aims to mimic the behavior of this herb which represents a woman – potential actress for the film. Each actress is bracketed exposing her in different light conditions.

Petal configurations from actresses to the structures with allusion to objection of cine-psychoanalysis, like a gaze theory, included its apparent exclusion of her body.

Panels interact with the viewer and represent character’s performative rather then biological act of loosing or changing identities in the process of becoming media.

Cine-Psychoanalysis it is now being revised to fit new family paradigms, digital media, and phenomena of late global capitalism.

Design inspired by Jason Bruges Studio interactive project “Mimosa” for Philips Lumiblade.

Emotional Documents
A conversation about game, play and a virtual institution

INTRODUCTION

All players at the poker table finish the game at the same time when the dealer announces the winner. The audience observes this final moment – the announcement of the winner – when he or she gets the chips. In art, however, there can be no real winners; and insofar as there are, the audience cannot identify them with the naked eye. Critical and analytical penetration are required, but also commentary, assessment of artistic value, perspective. Tarot card games are built on similar principles, that is, concentrating less on results than the process. The same goes for the following document, which stems more from emotional than from logical strategies. I have invited two art professionals: Jan Backlund (artist) and Ieva Steponaviciute (game theorist) to analyze documents I have produced over the past year. In Tarots, as in the visual arts, nothing starts or ends with the mere representation of a visual object; constant reflection and discussion are required in order to have the rules fixed and confirmed.

mycity-intro

Image 1 – www.trumas.lt/projects/mycity

My research on emotional documents comes to the fore through the project mycity, a short film and a cross- media Internet project based on the relations between states of love and characters. The cardiogram of the narrative and the atmosphere of the film are created in a digital extension as a game. When they start playing, the audience follows the rhythm of the film. Guided by the main female characterʼs voice (Gunde) they travel through digital time and space and unconsciously choose their love planet leaving the imprint of each traveled path. It is documented and sent to the players as their creative documentary, together with a commentary on their state of being in love, using one fragment from Roland Barthesʼ A Loverʼs Discourse.

mycity2-3

Image 2 – www.trumas.lt/projects/mycity

The following text does not seek to explain the mentioned art pieces; rather, it aims at fusing the involvement of the audience with their comprehension trajectories. Art often consciously offers uncertainty and obscurity – no right answers, only parallel versions. Readers should read the following passages however they choose, horizontally, vertically, back and forth…

Read more..

mycity-onepage

Screen Shot 2016-07-03 at 18.59.57

mycity-2

View of MyCity installation
grids

planetos-mycity

mycity2-3

mycity-poster

Theory and practice of catastrophes
Text by Riccardo Giacconi and Jurga Zabukaite
Inspired by the writings of René Thom

***

My first failure had the shape of a fold.

Here, we talk about the Border, the end of a state, the end of a being. Sunset. The end of the day.

As for the rigour: it is true that, as a mathematician, I have written some not very rigorous articles. I am the first to admit it. But I suspect that all that is rigorous is basically meaningless. And I think, overall, that I never committed outrageous mistakes. I have enough intuition not to commit them.

In my opinion there is a qualitative difference between mathematics and the other disciplines. These are, I believe, of a lower intellectual level.
Only the mathematician, who knows how to distinguish and generate stable forms, has the right to use the concepts. Only he, after all, has the right to be intelligent.

But you cannot consecrate your entire life to mathematics.

***

My second failure had the shape of a cusp.

It was the premonition, the stench of a crack, the discovery of a geological fault deep down the earth.

The first intuition to create the catastrophe theory came to me in the Natural History Museum in Bonn, during a reception hosted by the mathematicians of the University. I was bored, and I started to wander alone in the museum, which was in a great castle in the countryside. In one room there was a plaster model that represented the gastrulation of the frog egg. It was a sort of mathematical “vision”: looking at the circular furrow that opened and then closed again, I saw, by association, the image of a cusp, torn from a singularity.

Other visions came to my mind in that moment. To be on fire, in the center of desert. To dream to fall into the void. To drink but keeping the impression of thirstiness. Not to recognize yourself in the mirror. Not to know what is written.

***

My third failure had the shape of a swallowtail.

A wedge into a crack, tearing it open. This catastrophe is about cutting, and sewing. It gives birth to a syntactical function indicating death: a sentence that no human being has pronounced yet.

One of the great difficulties is that, when you want to analyze the meaning, you perceive the sense, you are in sense. In order to achieve an objective analysis of the meaning, a scientific analysis, you should be able to abstract from sense. Just like for our body: to consider it as an object of scientific knowledge, we are forced to kill ourselves, to submit to the scalpel of the surgeon who will operate our autopsy. The same thing should be done to the meaning: you have to objectify it, open it and analyze it as an inert object.
This is the spirit of catastrophe theory, which allowed geometrizing a wide range of phenomena such as aggression, hatred, love.
It is about abstracting from sense, destroying the meaning to study it objectively.
Such is the origin of language: a process that dampens the power of fascination of external forms, through the construction of concepts.

I am lying to myself. I adore myself but at the same time I would like to destroy all that is me. All the things in my surroundings are a lie, a conspiracy in which I’m participating. I am part of it. The pen is in my hand, I hold it too strong in order to master what doesn’t belong to me or what escaped from my mind.

***

My fourth failure had the shape of a butterfly.

It was a pocket, a fish scale. My skin starts to peel off, as my work, which I cannot but consider a gift to others, something I pour in the streets. A chameleon. It is composed by different parts that exist also individually. Different scales, “squames”.

Embryologists trying to apply my theory told me about the following. In an embryo, portions of the mesoderm give rise to the heart tissue, which then develops itself a cycle of evolution. It produces a periodic contraction, to the point that, as you know, if you prevent the formation of the heart, then a large number of small hearts emerge, sort of capsules that pulsate each on its behalf.

The butterfly is flying but after the fly is always falling. She’s coming from nowhere to conquer the light. Feeling the ground in order to spread the wings. To feel the empty space and the memory that is everywhere in surroundings – in the air. You have to breath then plunge into the void, enter the void. You don’t have to think about it – the fall will happen anyway.

***

My fifth failure had the shape of a pyramid.

Scientific progress is something automatic. By definition, scientific knowledge can only move forward. While art and philosophy do not necessarily progress, science progresses necessarily, compulsorily.

What limits the truth is not the false, but the insignificant. And modern science, to the point where it is, is a veritable torrent of insignificance.

I dare say that, paradoxically, celestial mechanics was much better known before the discovery of pulsars, quasars and the so-called blacks holes – the “pathology” of the skies. The composition of matter was much better known before the discovery of quarks and quantum mechanics. And, of course, the regulation of living beings was much better known before the discovery of DNA.

Uselessness to build something on what is already destroying itself. He is educating his children – why? He is learning to be good. Let’s stay together to exchange an image. Respect is not important anymore if we could tell some violence to the person we love.

***

My sixth failure had the shape of a needle.

It is a one single hair, a thorn thrown to sting, to penetrate, to plug a hole, to annihilate. A message, in short.

The catastrophe theory is not part of mathematics. It is a methodology rather than a theory, which seeks to interpret experimental data using mathematical tools.
At a conference, someone said to me: “Your theory explains everything, but a theory that explains everything, explains nothing.” I think it’s a well-founded criticism. The catastrophe theory has the same status of magic. The explanatory system of magic is a system that never fails.
(If some magical process remains without effect, people justify it due to a defect of form)
After creating the theory of catastrophes, I had to accept the suspicion that it was a magic of our time. Moreover, since it cannot be “falsified”, they cannot consider it “scientific.”

I can no longer stay with those people. I am going to kill myself looking how dead they are. I am looking all around and talking. That is the best way to disappear from the space. Not to be present – but just to talk. The cells in my body are dying and I can feel it inside. People are gesticulating and all these movements are going to destroy the sun. Burning. The fire is inside, not outside. The outside is an unfinished reflection.

***

My seventh failure had the shape of a mushroom.

It was a water jet, a mouth. It was about me closing my mouth.
It had the shape of a little boy killing a hedgehog.
It was about realizing how I failed in creating a theory of failures.

The catastrophe theory is a generator of models. But the models inspired by my theory have undergone significant setbacks. The “application” of catastrophe theory has not shown convincing results, has not yet had great practical applications and perhaps it will not have in the future.
Of course, the situation is a bit unfortunate, since it makes it difficult to defend the theory of catastrophes, and everybody are wondering what this theory actually is.
I might answer that it is a general method, but a “general method” does not call for precise theorems. Therefore they tell me there is no “mathematical substance” to it.

I just created seven shapes, seven sculptures, seven poems. I thought they were going to be useful for somebody, but they were just immaculate ideas on how systems fail.

With time, my construction became a face in decomposition, a relic.
Once, I saw a man. He was spitting on a tramp, a woman without legs.
Mathematics has in no case the right to dictate anything to reality.

ReneThom

plakatas1

TRUMAS Philosophy

Concept of TRUMAS as a family is deeply personal and forever evolving. Based on rhizome.

rhizome_1

For some, family could mean neighbors knowing glances, lovers gentle chiding or mother’s turkey gravy. For others, it could be found on the unrequited love. The common thread is that the people we consider to be the family encourage us, teach us and care of us, for better or worse, in sickness and in health, till death do us part (after our childhood bedrooms get turned into darkrooms).

Trumas community is based on creativity and slow life principles which is considered to be a family of film playing ground. Making films slowly and experimental could be considered as a failure of the industry but not of this particular family.

We ask some big questions: how is cinematography changing the way we construct our daily narratives? Should we feel guilty about speaking to our imagined narrative more then practical life or while travelling speaking to our barista more frequent then our DNA sister at home? Each family has its own ups and downs, but by recognizing the imperfect technological nature of our ties, we can make it dance. Trumas is organic and structural way of film ‘gaming’ and connections between collaborators are emphatic rather then technological.

 

an archive:

 

(Band of truffles in rhizome stylized http://www.trumas.lt)

 

The family Issue explores the relationship we have with our nearest and dearest, in all of their iterations:

 

(Mynetwork structured http://www.trumas.lt/projects/mynetwork)

 

Eating together is one of the most enjoyable ways to connect with our loved ones.

 

(Band of truffles real)

 

Commensality: from everyday food to feast, lunch on the set, the art and practice of the midday meal, about the benefits of sharing a plate with your lover, friend or co-workers. And for diner we settled on the goriest of them all: the Blood Menu. Red wine or pomegranate juice and red velvet cakes.

 

(Kinofood – experiments with the objects on high speed robotic camera with some liquids all tones from yellow, red and black)

 

Actors are the Perfume of film. It is most sensitive flowers need to be cherished and loved.

(Mimose structured http://www.trumas.lt/projects/mimosa)

 

In other parts of the issue, bonds are bonded, playgrounds are played in and names are named. We play not only The Family, but the City, the Galaxy on the film strip with a band of imagined brothers, sisters, fathers, daughters for the sake of not feeling orphans in this cruel cold world. Leaving loose ends in infinity imagination pool.

 

(Video game http://www.trumas.lt/projects/mycity)

 

We explore the different ways to stay connected far from home and debunk the fibs and fables we were fed as kids. Friends show us different ways of weaving familial ties, such as the Mexican-born Berlin /Paris based soul guide of the project Gunde (exsurpts from the film RDB) and a pair of identical twin souls Salome and Elijah who share everything from their clothes to their apartment, meals, work and fairs (invitation for VR explorations with vr glasses).

 

Welcome to join our archive! Collaborating in common interests of the present is creating a future. By sharing values of music, science and friendship on everyday filmstrip!

 

 

 

 

 

www.trumas.lt

13211118_1119571124730476_1058935365_o

TRUMAS Philosophy

Concept of TRUMAS as a family is deeply personal and forever evolving. Based on rhizome.

rhizome_1

For some, family could mean neighbors knowing glances, lovers gentle chiding or mother’s turkey gravy. For others, it could be found on the unrequited love. The common thread is that the people we consider to be the family encourage us, teach us and care of us, for better or worse, in sickness and in health, till death do us part (after our childhood bedrooms get turned into darkrooms).

Trumas community is based on creativity and slow life principles which is considered to be a family of film playing ground. Making films slowly and experimental could be considered as a failure of the industry but not of this particular family.

We ask some big questions: how is cinematography changing the way we construct our daily narratives? Should we feel guilty about speaking to our imagined narrative more then practical life or while travelling speaking to our barista more frequent then our DNA sister at home? Each family has its own ups and downs, but by recognizing the imperfect technological nature of our ties, we can make it dance. Trumas is organic and structural way of film ‘gaming’ and connections between collaborators are emphatic rather then technological.

 

an archive:

 

(Band of truffles in rhizome stylized http://www.trumas.lt)

 

The family Issue explores the relationship we have with our nearest and dearest, in all of their iterations:

 

(Mynetwork structured http://www.trumas.lt/projects/mynetwork)

 

Eating together is one of the most enjoyable ways to connect with our loved ones.

 

(Band of truffles real)

 

Commensality: from everyday food to feast, lunch on the set, the art and practice of the midday meal, about the benefits of sharing a plate with your lover, friend or co-workers. And for diner we settled on the goriest of them all: the Blood Menu. Red wine or pomegranate juice and red velvet cakes.

 

(Kinofood – experiments with the objects on high speed robotic camera with some liquids all tones from yellow, red and black)

 

Actors are the Perfume of film. It is most sensitive flowers need to be cherished and loved.

(Mimose structured http://www.trumas.lt/projects/mimosa)

 

In other parts of the issue, bonds are bonded, playgrounds are played in and names are named. We play not only The Family, but the City, the Galaxy on the film strip with a band of imagined brothers, sisters, fathers, daughters for the sake of not feeling orphans in this cruel cold world. Leaving loose ends in infinity imagination pool.

 

(Video game http://www.trumas.lt/projects/mycity)

 

We explore the different ways to stay connected far from home and debunk the fibs and fables we were fed as kids. Friends show us different ways of weaving familial ties, such as the Mexican-born Berlin /Paris based soul guide of the project Gunde (exsurpts from the film RDB) and a pair of identical twin souls Salome and Elijah who share everything from their clothes to their apartment, meals, work and fairs (invitation for VR explorations with vr glasses).

 

Welcome to join our archive! Collaborating in common interests of the present is creating a future. By sharing values of music, science and friendship on everyday filmstrip!

 

 

 

 

 

MAPPING TRUMAS

fungus

ezgif.com-crop

13211118_1119571124730476_1058935365_o

TRUMAS Philosophy

Concept of TRUMAS as a family is deeply personal and forever evolving. Based on rhizome.

rhizome_1

For some, family could mean neighbors knowing glances, lovers gentle chiding or mother’s turkey gravy. For others, it could be found on the unrequited love. The common thread is that the people we consider to be the family encourage us, teach us and care of us, for better or worse, in sickness and in health, till death do us part (after our childhood bedrooms get turned into darkrooms).

Trumas community is based on creativity and slow life principles which is considered to be a family of film playing ground. Making films slowly and experimental could be considered as a failure of the industry but not of this particular family.

We ask some big questions: how is cinematography changing the way we construct our daily narratives? Should we feel guilty about speaking to our imagined narrative more then practical life or while travelling speaking to our barista more frequent then our DNA sister at home? Each family has its own ups and downs, but by recognizing the imperfect technological nature of our ties, we can make it dance. Trumas is organic and structural way of film ‘gaming’ and connections between collaborators are emphatic rather then technological.

 

an archive:

 

(Band of truffles in rhizome stylized http://www.trumas.lt)

 

The family Issue explores the relationship we have with our nearest and dearest, in all of their iterations:

 

(Mynetwork structured http://www.trumas.lt/projects/mynetwork)

 

Eating together is one of the most enjoyable ways to connect with our loved ones.

 

(Band of truffles real)

 

Commensality: from everyday food to feast, lunch on the set, the art and practice of the midday meal, about the benefits of sharing a plate with your lover, friend or co-workers. And for diner we settled on the goriest of them all: the Blood Menu. Red wine or pomegranate juice and red velvet cakes.

 

(Kinofood – experiments with the objects on high speed robotic camera with some liquids all tones from yellow, red and black)

 

Actors are the Perfume of film. It is most sensitive flowers need to be cherished and loved.

(Mimose structured http://www.trumas.lt/projects/mimosa)

 

In other parts of the issue, bonds are bonded, playgrounds are played in and names are named. We play not only The Family, but the City, the Galaxy on the film strip with a band of imagined brothers, sisters, fathers, daughters for the sake of not feeling orphans in this cruel cold world. Leaving loose ends in infinity imagination pool.

 

(Video game http://www.trumas.lt/projects/mycity)

 

We explore the different ways to stay connected far from home and debunk the fibs and fables we were fed as kids. Friends show us different ways of weaving familial ties, such as the Mexican-born Berlin /Paris based soul guide of the project Gunde (exsurpts from the film RDB) and a pair of identical twin souls Salome and Elijah who share everything from their clothes to their apartment, meals, work and fairs (invitation for VR explorations with vr glasses).

 

Welcome to join our archive! Collaborating in common interests of the present is creating a future. By sharing values of music, science and friendship on everyday filmstrip!

 

 

 

 

 

www.trumas.lt

TRUMAS Philosophy

Concept of TRUMAS as a family is deeply personal and forever evolving. Based on rhizome.

rhizome_1

For some, family could mean neighbors knowing glances, lovers gentle chiding or mother’s turkey gravy. For others, it could be found on the unrequited love. The common thread is that the people we consider to be the family encourage us, teach us and care of us, for better or worse, in sickness and in health, till death do us part (after our childhood bedrooms get turned into darkrooms).

Trumas community is based on creativity and slow life principles which is considered to be a family of film playing ground. Making films slowly and experimental could be considered as a failure of the industry but not of this particular family.

We ask some big questions: how is cinematography changing the way we construct our daily narratives? Should we feel guilty about speaking to our imagined narrative more then practical life or while travelling speaking to our barista more frequent then our DNA sister at home? Each family has its own ups and downs, but by recognizing the imperfect technological nature of our ties, we can make it dance. Trumas is organic and structural way of film ‘gaming’ and connections between collaborators are emphatic rather then technological.

 

an archive:

 

(Band of truffles in rhizome stylized http://www.trumas.lt)

 

The family Issue explores the relationship we have with our nearest and dearest, in all of their iterations:

 

(Mynetwork structured http://www.trumas.lt/projects/mynetwork)

 

Eating together is one of the most enjoyable ways to connect with our loved ones.

 

(Band of truffles real)

 

Commensality: from everyday food to feast, lunch on the set, the art and practice of the midday meal, about the benefits of sharing a plate with your lover, friend or co-workers. And for diner we settled on the goriest of them all: the Blood Menu. Red wine or pomegranate juice and red velvet cakes.

 

(Kinofood – experiments with the objects on high speed robotic camera with some liquids all tones from yellow, red and black)

 

Actors are the Perfume of film. It is most sensitive flowers need to be cherished and loved.

(Mimose structured http://www.trumas.lt/projects/mimosa)

 

In other parts of the issue, bonds are bonded, playgrounds are played in and names are named. We play not only The Family, but the City, the Galaxy on the film strip with a band of imagined brothers, sisters, fathers, daughters for the sake of not feeling orphans in this cruel cold world. Leaving loose ends in infinity imagination pool.

 

(Video game http://www.trumas.lt/projects/mycity)

 

We explore the different ways to stay connected far from home and debunk the fibs and fables we were fed as kids. Friends show us different ways of weaving familial ties, such as the Mexican-born Berlin /Paris based soul guide of the project Gunde (exsurpts from the film RDB) and a pair of identical twin souls Salome and Elijah who share everything from their clothes to their apartment, meals, work and fairs (invitation for VR explorations with vr glasses).

 

Welcome to join our archive! Collaborating in common interests of the present is creating a future. By sharing values of music, science and friendship on everyday filmstrip!

 

 

 

 

 

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