The new landscape is no longer an ordinary place of vegetation, wilderness and land formations, but a global system of interlinked circuits, logistical arrangements, and production chains. It is not just a place where people live. It is a system of thousands and thousands of actors, trying to govern ecosystems as if they are pieces of a big chaotic net. The production processes of today will be the geology of tomorrow. The new landscape demands a different set of technologies, and this requires a new definition of the term “ecosystem”. Fragmented it inhabits different scales. Not one thing remains constant: politics, economy, technology, nature, culture and society. This is how the project of unification aims to assemble and organize the multitude of other vectors of distribution into a singular space that is universally defined as the planet itself.
The project Land 2.0 is composed of a physical installation in the form of two thousand 3D-printed rocks accompanied by a presentation of the digital/physical process of their production (and re-production). The digital models of the rocks are supplied via a webpage where an archive of appropriated models is stored. These models from the “rock archive” are then processed through a series of machines. The first machine is called a shredder and it granulates the rocks, the second machine is an extruder and melts the shredded material back into PLA plastic “filament”, and the third machine is a 3D printer that re-creates or recycles the rocks into a new series of models supplied via the aforementioned page. All of the above creates a sustainable production line of the same material but diverse content.
If the main protagonists of this work are these strange yet banal objects – “stones” or, more accurately, their three-dimensional digital representations – then the project functions as a narrative about their path through artificial ecosystems. From their creation as digital immaterial data and production as physical things right down to their return as pure material from the recycling machines, the objects flow and transmute through a circular process that has the capacity to repeat itself indefinitely. In this way the work searches for the intersection between artificial and natural systems in an age marked by an increased human interference into the environment. Not only does it call upon the images of anthropocentric sediments of the future, but it also plays with the idea of the Earth as a system composed of both natural and artificial processes without a clear delineation between the two. As such, the work puts a great emphasis on the question of human agency and position in this system.
Land 2.0 can therefore be described as a modular system that connects disparate areas, as the objects that circulate within the work do not belong solely to its internal logic, but engage in the broader systems of production and distribution. The connection between these systems encourages a reflection on the general co-dependence between them and raises the question of how they co-create our different “environments”. However, Land 2.0 does not stop at asking questions – it also has the capacity to function as a platform for various workshops.
Strtgm is an independent entity that is active in the fields of art and culture and has been developing through cooperation with a variety of actors. It builds perspectives on the present and visions of the future, seizes that which is collective on various levels of its activity and moves freely across the boundaries between fields and disciplines. However, it does not take a fixed or permanent position, but is susceptible to constant reorganisations of its internal parts and of the approach it cultivates in relation to exteriority.
This webpage belongs to the project Land 2.0 and is currently a part of the International Festival of Computer Art (Mednarodni festival računalniške umetnosti, MFRU).