Fa­bien Gi­raud and Raphaël Si­boni, The Un­manned, Part Two – Roslyn Helper

The Un­manned, Part Two

Art Almanac - - Contents - Roslyn Helper

Is it pos­si­ble to tell the story of hu­man cul­tural evo­lu­tion in a way that is sep­a­rate to the in­ter­ests of the teller? What hap­pens if we look at our­selves through the lens of his­tory as arte­facts, or prod­ucts of tech­no­log­i­cal evo­lu­tion, rather than as hu­man? These are the cen­tral ques­tions posed by French col­lab­o­ra­tive duo Fa­bien Gi­raud and Raphaël Si­boni in their epic, four-year project ‘The Un­manned’.

The project is di­vided into three parts, called ‘sea­sons’, only the first of which has been com­pleted so far. Ex­hib­ited at the Mu­seum of Old and New Art (Mona) from Fe­bru­ary this year, this first sea­son com­prised eight haunt­ing films de­pict­ing key his­tor­i­cal (and spec­u­la­tive fu­ture) mo­ments, each pow­er­fully demon­strat­ing the rad­i­cal im­pacts com­pu­ta­tion has had on our so­cial and po­lit­i­cal evo­lu­tion.

Pre­sented in re­verse chrono­log­i­cal or­der, the first film spec­u­lates the ‘death’ of Amer­i­can com­puter sci­en­tist Ray Kurzweil in the year 2045, which is the year he has fa­mously pre­dicted that the Sin­gu­lar­ity will be born. Shot en­tirely with drones in a lush rain­for­est, the film over­flows with an­tic­i­pa­tion as we stand on the thresh­old of an emerg­ing tech­no­log­i­cal world. Con­trast­ingly, the sixth film in the se­ries is set cen­turies ear­lier in 1348, and cen­tres around the es­cape and

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