邊界
biānjiè research group
邊界_RG is an artist collective and a research group. They work at the edge of language, memory, and machine cognition. Their collaboration explores the aesthetics of the recursive interplay between generative systems, speculative design, experimental essay...(learn more)
biome
S02 home about profiles publications artworks events join us donate
desert
cybernetics language memory interface digital culture new media LLMs learn more...
mail       x       instagram



Ian Margo & Fakewhale Interview, d/wb project
How to find inner peace Carl Olsson
Coasean Bargaining at Scale Séb Krier
Crisis Media: Sonic Architectural Synaesthesia, Stochastic Redundancy and Nuclear Post-Humanitarian Tactic Yidi Lola Wang
Chatbots as Psychoanalysts, or, ‘The Talking Cure Morgane Billuart
Creative Liberation or Digital Colonization?, David Lazăr
The Artificial Unconscious, Germán Sierra
Artificiality and Emotions: Beyond the FleshMorgane Billuart
Fango 1000 & Large Lore Models, dmstfctn, Alasdair Milne, Eva Jäger
What Is Artificial Experience (AX), William Morgan













Carl Olsson

profile researcher spatial-theory self-image New Center trascendental philosophy human geography

x  instagram

Carl (Christian) Olsson is a writer and theorist working with histories and philosophies of science and spatial theory. His work touches on the human self-image, different concepts of freedom in nature, and transcendental philosophy. 

Carl recently completed a PhD in Human Geography at Newcastle University. He contributed to the second cycle of The Terraforming at Strelka Institute, has been a visiting scholar at Waseda University, and is an instructor at The New Centre for Research & Practice. He has written for Urbanomic, ŠUM, and different geography journals and edited books.

entries
Self-Stalking Prey: A Study for a Portrait of Little Red Riding Hood
Carl Olsson


publication

Ronald Fairbairn had a simpler interpretation, describing the story as a tale about Little Red Riding Hood’s ‘own incorporative need in the form of a devouring wolf’8: a showcase of an early oral dynamic rooted in unsatisfied hunger rather than sexual competition. The recurrent vore fantasies (the wolf swallowing its victims whole) are cast as pre-Oedipal, more to do with hunger and infantile disappointment in the nourishing mother than the family triad; and it is in terms of hunger that we will think about theory replacement and the exhaustion of ‘our’ conceptual dependency on the inherited concept of subjectivity.

Departing from the psychodynamic interpretations, I want to consider Little Red Riding Hood as a conceptual rather than psychological drama that may, however, attain psychological import in due course. It is a developmental allegory for the self-effacement of the language that makes us ‘us’, such as in moving from an image of ourselves as rational agents to biological objects that can be explained. The little girl is a werewolf preying on herself. It is a story about self-overcoming in the double sense that it is a about the effacement of the subject as a theoretical entity and about an effacement that unfolds as the result of a dialectic initiated by the subject itself. The deep forest is a stage for a conceptual clash...(more)
publication
(...) Destruction breeds creation, but the new is only added to the old which lays dormant as if waiting for the arrival of an archaeologist to delve into it. Sacrificing the present is the condition for liberating the potentials contained in the overcoded past. Through Spielrein, far-off ancestors are finally removed as intermediary targets of identification to establish a direct connection between humanity and its generative terrestrial backdrop. The great cycle of nature is wound back to its origin where the distinction between inside and outside no longer matters: where all there is is undetermined nutritional conditions for life (which is also to say an absence of life). Beyond regressions to ancestral states; beyond even references to equally ancestral environments, we finally encounter the roots of regression as total dissolution into the environment.

Some artists have represented the road toward this extreme in literal terms, often with a focus on the destructive side. Ken Russell’s 1980 film Altered States depicts a psychologist in pursuit of a drug-induced attempt to recollect ancestral states during repeated immersions in a sensory-deprivation tank.12 Predictably, the experiments misfire and the psychologist is fantastically transformed into an apelike ancestor who rampages through the research facilities as though they were a jungle. Things only escalate from there on, as the increasingly unhinged psychologist is propelled further and further backwards to a point where life loses its meaning(...more)


























S02 Format Statement & Technical Logic For A Body That Remembers
Format s02 emerges centered on these practices, seeking to reconceptualize and reconcile the operative possibilities—both aesthetic and theoretical—within the conditions of digital culture, situating its inquiry at the limit, the edge, the frame, the frontier