Toward a Minor Tech:Teodora-500
Rendering Minor Worlds
Teodora Sinziana Fartan
Critical renderings of speculative virtual imaginaries are increasingly emerging today as a form of collective utterance, a minority language that responds to the current states of emergency that we find ourselves in socially, politically, ecologically and technologically. The recent crystallization of immersive worlding as an experiential storytelling practice situates itself within the political context of resistance through its search for modes of being-otherwise. Kafka writes of literature that it should “affect us like a disaster, that grieves us deeply, like the death of someone we loved more than ourselves, like being banished into forests far from everyone”, foregrounding the affective and transformative power of storytelling - stretching forwards from his time to the present day, we see this practice of critical storytelling extended into the realm of virtual ecologies with artists like Ian Cheng, Lawrence Lek, David Blandy and Larry Achiampong, Sahej Rahal and Keiken formulating critiques of our contemporary context by producing minor worlds that speculatively explore alternative narratives. As Stengers urges us, these practices attempt to imagine “connections with new powers of acting, feeling, imagining, and thinking” and then prototype, hack, develop and render these into being.
A question, therefore emerges: how can we position and conceptualize these novel modes of expression that operate within the scales of virtual game spaces and their underlying networks of exchange? How can practices of worlding enable us to abandon “habitual temporalities and modes of being”, as Helen Palmer puts it, and think beyond ourselves, speculatively, towards possible futures and fictions?
The turn towards immersive world design is enabled by the recent deployment of game engine technologies towards critical digital experimentation, enabling artists to produce increasingly complex digital artifacts. Similarly to the properties of a minor language formulated by Deleuze and Guattari in their analysis of Kafka’s writing, today’s turn towards the production of virtual worlds as sites of alternative possibilities is deterritorializing the existing entertainment-centric and economically-driven mode of existence of immersive game productions. Within the parameters of the game engine itself, the various features, interfaces and functionalities of mainstream game design software are geared towards competitive ludic productions. However, with the increased accessibility of gaming technologies, we see the emergence of collective efforts to utilize game engines critically, towards the production of minority worlds, where the entertainment-focused properties of commodified games are replaced with experimental assemblages and their affect constellations.
When the majority language of the game engine is deployed into the minor territories of experiment and social critique, the audience's connection to political immediacy is facilitated through the experimental readings that are enabled. Pushing beyond the transformation of given content into the appropriate forms expected of major literature, worlding moves into the territory of minority expressions, where experimental and non-linear formats operate in networked and multifaceted ways, “speaking first and only conceiving afterwards”, as McLean infers. This study, therefore, aims to trace the ways in which new openings into alternative imaginaries are made possible on the shores of virtual worlds: how do virtual ecologies allow for new ways of being and knowing? And through these new modes of existence, how can worlding promote a state of community and becoming, foregrounding active solidarities?