WAR • ROOM • ECHO – Regarding the Pain of other Cyborgs, is a Performance lecture – Installation and Research Project. It comprises a procedural audio soundscape of glitch sounds using static and radio frequencies and a performance recitation of a comprehensive list of every war, battle, siege, sacking, revolt and revolution spanning 5014 years of human conflict and violence.
The project is envisioned as a temporary museum – a hybrid cross between an archeological site – in itself a branch or a parallel of history – a war memorial and a tomb.
It is a gesamtkunstwerk on the idea of war and conflict, creating a significant marker in the form of the largest war based research archive spanning 5016 years, beyond existing notions of geopolitical identity – positing the project in the context of a PARA-museum that critically engages and disrupts existing power relations. In its first stages, this is realised as a series of ongoing performance lectures and research installations conducted around the world – in key sites that either contain memories of war, trauma, violence, and/or sites of learning and knowledge production.
Violence and its perception are an unstable and contestable phenomenon shaped by social and material factors – a fundamental condition ‘lodged in the core of human experience.’ It is simultaneously private, public, self-intimating and collective, as is the experience of this performance installation.
One of the distinguishing features of modern life is that it supplies countless opportunities for regarding (at a distance) horrors taking place throughout the World. Images of atrocities have become something of a commonplace. But are viewers inured – or incited – to violence by the depiction of cruelty? Is the viewer’s perception of reality eroded by the daily barrage of such images? What does it mean to care about the suffering of strangers in far off places?
The tone of the Project is that of remembrance and sobriety. Our concern is not for representing war, but those who have died. We are dealing with memory. But rather than looking at War within the usual frameworks of national or international bodies of identity, we concern ourselves with collective memory and a global body of identity.