Codex Contamirari_Humana Coded
Codex Contamirari, Humana Coded – CC.HC is an act of aesthetic critical reflection and creation about the concept of the human being by means of bodies, perceptions and metaphors coming from computer programming, robotics, life simulation or artificial life. CC.HC consists of three intertwined parts: Amari which generates and interprets emergent behavior patterns by a neural network; Uncanny Bihotz concerned with the construction of the organic elements made up of synthetic units — or, in other words, it represents the waning of ontological density resulting from the real turning into the virtual — and Ehime Daruma being a symbol of the thought transformation capacity onto the matter , this time , as a consequence of the virtual changing into the real.
Despite their digital nature, each of the three pieces also contain data from ‘another human condition’ brought by their own substantial contact, which is mainly conceived as the act of adding to the logic of the binary data variables of an irrational computing or an alchemical logic . As a matter of fact, the three of them primarily aim at searching the poetical elements from the magnified data and once it is brought into an aesthetic experience, it undoubtedly enhances the perception of the hybrid beings technologically designed.
TURBA is a neural network system mainly defined as a process of interconnections. Thus, any behavior pattern arising from it has by no means been prearranged and it should be entirely understood as “randomly created” by the connective structure of the system itself. In fact, if we applied a different force in the connection of the oscillators, a new pattern would be sorted out , ranging from other synchronized movements to utter chaos which little by little evolves in the course of time. Furthermore, none of the components could be held responsible for a particular behavior pattern since it is each and every one of them acting as a whole with solidarity and empathy which actually cause it to happen. Yet, if the system generates its feedback by its own rhythms it generates, then undulatory emerging pattern behaviors come up, which curiously resemble the movements by organic bodies or even human beings themselves.
Nevertheless, if we make a connection between TURBA and other self-organized procedural systems of social or cultural nature, the way this piece is acting could be similarly interpreted as an image of a network society with its own unique characteristics, such us a current of different points of view, unconscious crowds or collapses.
Uncanny Bihotz (UB)
A mechanism with a human aspect and a mechanical inside which arouses our subconscious fears claiming that the human being is all in all mechanics with no soul.
UB is the act of magnifying and transducing the non-existing vital beating of the machine, which results from the mixture of synthetic mezzo ink, the sound of a beating heart and a link with the outside world. Unlike Amari, which derives from a very strictly-performed process of interconnection, UB is an almost entire process of plastic handling. It contains nodes and connections taken from the same programming background as in AMARI, but instead of turning into a programmatical expression, it eventually becomes a visual and poetical entity with living emotions. In other words, it pursues the building of a visual image not that of a real object; a metaphor of “ how something is functioning” but not focusing on the functioning itself; seeking emotions from a particular perception without considering the reality. The basis of UB doesn´t embrace the fundamentals of Descartes but it does stand on Holderlin and John Martin. In short, it can be actually regarded as an useless heart but meant to be legitimate in terms of ” signification”.
UB takes its name from the well-known hypothesis ·uncanny valley, which basically proves that when anthropomorphic replicas look and act as though they were real human beings, they are seemingly rejected by the human watchers. As UB is not an anthropomorphic replica, it doesn´t overtly arouse that feeling of disapproval at once but it somehow takes part of it because it entails the actual construction of an organic element out of synthetic units.
The projected image of UB is technically the result from the combination of a perfect geometric body (the sphere) with the noise produced by the gradients of the vectors which change pseudo-randomly in the space-time (perlin noise). That is to say, it originates by the conjunction of variables of chaos and order.
On the other hand, the beating of the heart comes up whenever a watcher intentionally puts the hand into contact with the interface (that is ,when the code is touched), which lays on one of the sides of the screen of the virtual UB. Thus, the longer this contact between the two of them is kept, the greater the activity of the UB will grow until it finally reaches a cardiac orgasm. Yet similar to those animistic cultures who fully refuse to be photographed, UB, by this act of transferring, brings about the waning of ontological density of the individual as while he or she is feeding the machine, the projection comes to life acquiring its own vital status to the detriment of the human supplier.
(…) According to legend, the master Daruma retired to a cave to meditate.
Such was his determination of spirit, he cut his eyelids when falling asleep during a meditation. And so long meditated, he lost arms and legs not to use them. Daruma dolls are votive figures without eyelids, arms, or legs. 
Ehime Daruma picks up again some of the above mentioned arguments in order to create a gentle space for reflection, contemplation and interaction.
As the master of the legend, Ehime Darauma engages the challenge of a harmonious fusion of the dual nature (the real and the virtual), and it is precisely this encounter between the human being and the machine what invites us to think of the mutual influence and the thought transformation capacity (of whatever nature) onto the matter.
Ehime Daruma is a complex and interdependent setting, in other words, it is almost an ecosystem which has been getting rid of heavy elements to show up in lightweight and flexible units. Yet the importance of this piece does not so much lie in the materials used for it but in “its very own meaning”; thread, springs, ringpulls, hooks, real lights and shadows lights and shadows projected on a bed of flour… Not only to be mechanical realizable but also because this setting is the threshold for the artwork to be exhibited. It is this situation of volatility in white and black where the feelings of anxiety, concerns and choices are revealed.
Ehime Daruma is in a state of meditation. So the audience interrupts it, getting her excited. This stimulation is proportional to the external transformation: in the presence of the audience, she will move according to their evolutions: the closer the watcher approaches, the further away the ring will get from him or her. In front of a large number of people, Ehime Daruma will seek a place for quietness and rest. By contrast, if the watcher stays motionless, he or she will be integrated in the perception of Ehime Daruma after a while, becoming invisible for her – or rather, a part of her.
Hence, her natural tendency is not continuous movement but stillness. Although she is surrounded by visitors , if she doesn´t perceive any change ( no matter whether this happens because the audience wants so , just by chance or because she provoked it), Ehime Daruma abandons herself, takes a breath and retreats to a state of meditation, towards perfection, drawing a latent circle around her. It is in this moment of contemplation and stillness when it can be said that a strong link from the machine to the audience has been established, as she gets it paralyzed.
Firstly, I want to see how it moves, and I play the game of discovering what it is like, how it gets away. Afterwards it hypnotizes me and I stay watching it, how it stays motionless, how it withdraws; how I stay motionless. If only I could become invisible to move without her seeing me, as a matter of fact, I can´t do it any longer.
 The mathematical equations for the neural oscillators presented here have first been fully analyzed by Shun-Ichi Amari (Amari 1977). Studies of this type of interaction within neural systems date back to work from cybernetic pioneers Norbert Wiener and Arturo Rosenblueth (Wiener and Rosenblueth 1946).
Daruma dolls are votive figures with no eyelids, arms and legs. They are seen as a symbol of perseverance , good luck and encouragement. Daruma dolls have traditionally been depicted as masculine but there is also the female version which is called: Princess Daruma