“Modern physics has shown that the rhythm of creation and destruction is not only manifest in the turn of the seasons and in the birth and death of all living creatures, but is also the very essence of inorganic matter.”

–Fritjof Capra, The Tao of Physics

zero+plex | 2016 [yet unrealized]

The installation zero+plex deals with universal infinities and their inherent memories. A work employing several interconnected modules exhibiting interpretations of cultural and scientific world models, that we are currently adapting to. By promoting models of non-linear thinking and perceptive thresholds we wish to foster what we call immersive intelligence.

I was born in Hechingen, Southern Germany. Hechingen is the town where Albert Einstein often came to visit his cousin Elsa, his later wife. In the year 1944 the Kaiser Wilhelm Institute of Physics Berlin moved to Hechingen where Werner Heisenberg, Otto Hahn and their colleagues executed their last reactor experiment in a cave in the nearby town Haigerloch. By observing these local beginnings, I started a personal investigation of the atomic world.

In the year 2001 my research and work in digital art led to the investigation of the energy inherent in information. Realizing that all information stored in bits is actually stored via electrons, I decided to learn the language of nuclear physics as much as I could. In order to explore the atomic principles underlying the digital universe, our installation R111 examined virtual states of matter synthesizing the potential energies stored and released by the Internet.

In philosophical world models, the archetype of the tree can very often be found located at the very center. Surprisingly, this is also true for CERN: in the very center of the Large Hadron Collider’s circle, there rests a single tree. For this reason we include the painting “The Garden of Earthly Delights” by Hieronymus Bosch as a past world model into our installation zero+plex.
Our modification includes the removal of all human figures in order to reveal underlying structures that are manifesting hidden principles. Our interpretation finds all spherical objects to be located on circles resembling the Large Hadron Collider and its experimental stations.

The virtual reality world of zero+plex is based on the half-life of Tellurium-128, so far the longest memory of the universe. Its half-life lasts 2.2 septillion years (2.2 * 10^24), which is 160 trillion times longer than the universe has so far existed.

Two extracted samples of laibach’s cover version of the song “Across The Universe” by John Lennon are triggering state changes of the installation. A female and a male breath, both time stretched to a play-length of 13.7 billion years, the age of the universe.

Fading out of old world views and triggered by continuous virtual expansion, we human beings are ready to take the next step adapting immersive intelligence. Which role will new scientific models and discoveries play in this process of transformation? As we know, new mysteries are created as side effects of solving existing ones. And that is exactly what art is sharing with science: the fascination for the yet undiscovered.

Michael Saup, 2016 [yet unrealized]