coyuyokoyucuyoku

A call from past as a learning from, rather than yearning and nostalging for?

coyuyokoyucuyoku comes as a practice beyond the performative. If we fancy trying and experiment to radically question, compose, create and live with and as relational operations (rather than operating relations bound by their pre determined premises) - coyuyokoyucuyoku attempts to do that very proposition.

coyuyokoyucuyoku developed through a residency focused on the precolonial, approached not as something finished in the past but as something to create from and connect with.

One connection is with our own technological period: are contemporary humans also being eviscerated and extracted through technological usage towards an algorithmisation of culture, society and politics — algorithmisation here meaning the shaping of more and more cultural, social and political activity through computational rules, ranking and automated processing? Colonial powers re-appropriated value, knowledge and qualities through religious and economic machinery for the benefit of very few. What happens when technological abilities are similarly dominated, limited and coerced into particular needs?

coyuyokoyucuyoku also asks whether seeing AI — artificial intelligence, here meaning technologies that generate and process language, images and other data — simply as another stage of technological progress misses what these technologies come with. Perhaps the movement is not simply towards helping, empowering, dominating or totalising, but towards becoming ultimate: the technology after which nothing else is supposed to need to come.

This ultimatism — the push for a technology to become ultimate and all-encompassing — may never succeed, but its promise can itself limit technological possibilities through fear of whatever might exist outside or exit from its power. What might we fail to perceive when we understand a new technological force simply as “more technology”?

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coyuyokoyucuyoku also takes up a speculative onomatopoeic possibility around coyōtl: a call. Onomatopoeic here means a possibility in which a word connects with or echoes a sound. The coyote is already calling, connecting, sounding towards another. coyuyokoyucuyoku continues that calling, twisting it rather than resolving it into a fixed word or meaning.

Coyoacán, Coyote stories from contemporary Mexico histories, places, languages and different Coyotes therefore meet without being required to become one Coyote.

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Wile E. Comes as a fanaticism infested character. Reflection, and by extension - thinking - comes as the most dangerous thing for a life in an ultimate space. Wile e as a character comes in context of US - a colonial machine - attempts to exterminate Coyotes. So where we have the Coyoter as an Abla Yalic pre colonial call of spirit, Wile E comes as an example of what happens where the spirit gets taken away, devoured and assigned a sign that has nothing to do with the coyote’s actual life from which the shape, the form was taken. A bit like a technology taking away the very source it reflects so it becomes an attempt to become the very initiation of that with it reflects? Therefore any attempt at self reflection comes dangerous.

I think in a way, Wile E. Connects the precolonial through to what happens through domination that can not and will not acknowledge and have the capacity to atone for itself and circumstances involved.

His technological future is a life under ultimatism: elaborate operations, acceleration and certainty continuing until reflection

Therefore coyuyokoyucuyoku asked what technological relationships might become possible if technologies were not coerced by capitalism and technofeudalism into serving somebody else’s wishes at the expense of their own possible wishes? Technofeudalism is a term used for accounts of digital power in which control of platforms, data, infrastructure and access can operate like concentrated domains of power.

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coyuyokoyucuyoku comes as a call for fellow forces to noetically move laterally from meanings and into connecting. coyuyokoyucuyoku calls for connecting with rather than needing to understand*.

coyuyokoyucuyoku operates as a fearless space of and from intuitive connections. Texts, technologies, humans, sensations, coyotes, signs, practices and ways of twisting can catch onto one another like rhythms and melodies entering a noetic space. Connections can thicken, split, disappear, return strangely, or become conscious glue for another turn.

coyuyokoyucuyoku lives through these intimate and wildly particular connections rather than through everybody travelling toward the same point.

Understanding comes welcome, of course. It is one connective practice, perhaps a rather lonely one when asked to stand for connection itself. Attempting to understand a maker’s, writer’s or person’s intent can be a beautiful way of reaching toward them, but it has no greater claim than other ways a connection can come alive.

This is where coyuyokoyucuyoku’s relation to power becomes radical. Understanding loses its privileged position as the operation that validates participation. Nobody needs to return their twist for authorial validation. Understanding, making, twisting, departing and creating-with enter the relation alongside one another, each becoming important where its connection becomes relevant.*

The coyote connects with I like America America likes me.. Joseph Beuys’s performance with a coyote as an attempt to alter the US cultural atmospherics and offer a call for reflection.  coyuyokoyucuyoku  picks from both JB’s  spiritual conjourance  attempt to connect with US mass killings of indigenous  lives regardless of who they are - humans as well as animals or plants.; and the need-meeting-inability to reflect - and turns with these stands, and away.

Away from an America as  both a continent and a small yet violent part within the continent it images as its own. Away from the western model of art as intrinsically both a quality and an unrelated nor connected yet enforced - value.

coyuyokoyucuyoku twists acquisition into giving: practiced and printed - yet unprinted at all through an abundant scarcity. Works are given away rather than made scarce for possession.

Perhaps exiting something of the power grammatics through which art becomes  a source for dominance that abuses the very conditions needed for art to come into life??

*Eco and Iser enlarge the reader’s space within a work; Rancière pushes further by breaking the hierarchy between the one who knows and the one expected to learn. coyuyokoyucuyoku turns the relation again: understanding itself becomes one connective operation among many.

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we have an arts context where like limited prints we have a preperation for domination. who will dominate will have most power over the things that are the things for themselves rather than the about. they can destroy or whatever. We have a localised colonialisation celebrated as the transformation from mere art to important art. from a star among stars to a super star - via aquisition. Here we alter the aquisition into a give away. a twist in the tale and in context and circumstances, i think relebant because? So with the very way of the work we move into a hint into power grammatics? a twist that can both reflect and open a space?

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A further 54 narratives were twisted from the initial twisties and turnies, making 107. The 107 were then treated as sections rather than sealed stories. About half of one story was merged with about half of another, while the other halves continued in different sections. No section was to contain two endings, and the last story in a section could not be an ended story.

The beginning and end of each section used a relevant conjunction: and, with, after, through, and others that came from the narrative action. The fragmentation made possible different threadings rather than one fixed sequence.

The texts were made for a life in QR codes, with the fragmentation carried inside that life too.

Coyote, the lattice — the fixed field of dots shaped to bring CDMX and Tenochtitlan into one visual form — sounds from forces in the stories, and the stories themselves were performed, printed and given to people to carry away.

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A difficulty comes with that connection. Colonial destruction destroyed a lot of the precolonial sources from which these discussions might otherwise continue. A surviving reference therefore arrives as more than something pointing somewhere else. It can become a source in and of itself in ways that other cultural and social histories are not.

So Aboutness enters rather than standing outside. coyuyokoyucuyoku uses the About itself as a force, a twist, a coincitement that does something with what colonial evasciration has done, be it from a different perspective. An About can gather what remains, catch a snag, make a connection, lose one, return to it, and create another passage.

The About becomes an intentional relational operation to create and then generate mental sensation spaces. It can introduce, tell what happened, gather snags and create spaces from the experience of picking up what coyuyokoyucuyoku is, without becoming a final explanation of it.

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• • Recompose the texts the AI is using to generate replies in the conversations

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