RYZ∞

RYZ∞ was launched in 2021. I thought of conceptualizing an intriguing way of generating processes for how future revolutions could be imagined, and how past ones could be revisited–potentially scrambled and upended. Work with GPT—before the ‘chatGPT’ version exploded into public consciousness in 2022/2023—led to some wild and unexpected places. 

In the very first iteration, a Wikipedia entry on the history of revolutions was used to generate possible future revolutions, along with a reworking of the past revolts. The source text was the Wikipedia article, “List of revolutions and rebellions”, and the notebook generated “new revolutions” based on the dataset in this list. This was put into motion a number of times, making for a long list of admittedly troubling scrambled and imagined uprisings. (The initial text was generated using Generative Pre-trained Transformer 2 (GPT-2) and a Google Collaboratory notebook created by Max Woolf.)

In the next two years, a few more playful attempts created the iterations of April 2023 and September 2023, this time using prompts with generative AI (chatGPT). From here, a vision of the perpetual revolution(s) could be imagined.  I then conceptualized the project as a potentially (irregularly) reinvigorated process with participatory dimensions—one that could lead to (problematic, granted) contemplation of future revolutions. I put an end to personal attempts at generating these scrambled uprisings, with the arbitrary end being a testament to its being able to continuously be relaunched (or not), a component taken into account in the overall performance. A final iteration was generated on February 5, 2024, through ten questions posed to ChatGPT.

RYZ∞ celebrates the thirst of humankind to rise up against injustice while also poignantly illustrating the often chaotic nature of revolutions, which may go into many unexpected directions. In addition, the work elevates rebellions and small-scale resistances to amplify the urge to rebel, pointing out the constant occurrence of atomic revolutions. The project:

  1. Provides a surprising overview and peek into the many revolutions the human experience has generated, as well as the high number of rebellions that go untold and unseen;
  2. Speaks to the effervescence and madness of humanity with a strange humor generated by the automated mechanisms;
  3. Invites the reader to come to terms with perpetually shifting tribal affiliations;
  4. Illustrates the constantly adjusted and reformulated frameworks of  identity (over time and space) and how the shifting allegiances transform the ecosystem of the sense of self, of belonging and alienation–and the battles and rebellions that emerge. 

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Installations & Performances

  1. The piece can be enlivened in a number of iterations.

The Printout & Paste: a printout of any number of the pages of this document/folio, along with a placement in public (or in space/gallery) can be generated and managed. This can be finalized by the team installing the text, but could also have a participatory dimension where the public/audience is provided the possibility of installing pages.

The Printout & Paste:

  • Harkens to revolutionary texts and declarations of various sorts being  hoisted on walls and in public spaces without the backing of whatever authorities;
  • Generates an aesthetically intriguing artifact;
  • Provides an opportunity for physical (and fun) intervention into spaces of different kinds, along with extended participatory dimensions.

2. The Printed Folio: when available, the printed folio can be distributed in any number of settings as one artifact.

3. The Printout/Paste and the Printed Folio can simultaneously be brought into a given space: whether through an interjection into a public space or as an installation in a gallery. 

4. Performance: The Printout/Paste and/or the Printed Folio can be combined with a Performance, again, within a given public arena or gallery (through a combination of inside/outside play). The performance of RYZ∞ and the perpetual revolutions could go in any number of directions: a dedicated computer or robot or robot-hand or mechanical finger/hand, could generate lists based on pre-set parameters and mechanisms, including for indefinite durational processes. The creation of lists and the installation could also be undertaken through human intervention and interaction, whereby various processes are devised to generate lists, others to hang sheets or scrolls. There could also be human and machine interaction for various dimensions. The exact parameters of the performances would depend on the spaces and possible allotted times and durations. In addition, the possibility for the audience to generate lists, and then print and hang those pages, could be created. Over time, the pages and lists and e-generated material could mushroom throughout the room, making the very occupation of (and wading through) the gallery space a challenge and part of the experience. Finally, readings can be envisaged in any number of iterations, with or without the generation of new lists. 

(Luke Degnan was instrumental throughout the project with his expertise in creative engagement with generative machines and processes.)