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Arian Bagheri Pour Fallah at Miami Art Week 2022

Arian’s Wraithportrait Fixes Gaze On Fifth Avenue

We are pleased to announce that ‘Wraithportrait (Sein Porträt),’ a modular-medium artwork by Arian Bagheri Pour Fallah, known mononymously as Arian, will be on display at the 5th Edition of CADAF.
The ‘Wraithportrait,’ subtitled ‘Sein Porträt,’ is a recursive study of the auto-portrait pointing to Arian’s perpetual absence from the real world ever since the completion of his time as Artist in Residence at the Stiftung Künstlerdorf Schöppingen in July 2021 – whereby Arian’s whereabouts have remained unknown even to his closest friends and colleagues, a testament to the blurring of the récit character and the artist’s life. It is an instance of what Arian calls ‘lived literature,’ with the character, the portrait, and the ‘self’ each reciprocating one another in an idiosyncratic expansion of performance art, breaking with the conventions of the practice as an ossified form, to herald a futuristic return to theatre.
Wraith, in Scottish mythology is what German folklore terms a doppelgänger, an apparitional twin whose appearance portends the death of one of the halves. Myths, in Arian’s writings on the récit, compose fundamentally anthropological questions, and are therefore not analyzed in a normative manner. The récit double, whose life is interwoven with that of Arian, through the performance, is he who appears in the portrait as the ‘Self.’
Following this, portending death no longer is treated as a narrative device but an ontological presupposition of the performance. Space and sprawl are considered reciprocal structures in Arian’s 2020 monograph, ‘From Living Currency to Moribund Space,’ which studies the emergence of a new form of capital, from the Nixon shock to the present day, of narrative economics, crypto, modern monetary theory (MMT), but also networks and the underlying spatial dynamics of the Information Age. The work synthesizes the Cartesian proposition, ‘Cogito, ergo sum’ with that of Heidegger, ‘sum moribundus,’ asserting portending death not as ‘someone gravely ill or wounded,’ but ‘insofar as I am, I am moribundus’—The ‘I’, suspended and split in the récit, however, refuses the latter’s formulation of Dasein, pointing instead to perpetual fragmentation and expanding sprawl starting from 1971.
Ever since Arian’s linking of acousmatics with the Pandora’s jar, classics have remained key components of modular media. In the Wraithportrait, Arian further takes the 1513 translation of Virgil’s Aeneid by Gavin Douglas, and his interchangeable introduction and use of the term ‘wraith’ for the living as well as the dead, as a dramaturgical device. The portrait is a work of art in the modular medium, therefore, not fixed to any given artform, and composed of modules including living subjects in addition to sensory pieces that conversely correspond to simulacra, in philosophy of information. Despite the tokenization of the work, and Arian’s early assertion that ‘All art from hereon is crypto art’, through the refusal to list and/or market, but even more crucially the rejection of the linking of transience with an emerging technology, e.g., blockchain, the work emphasizes transience and temporal transgression as capacities unique to man, the most dangerous animal.
Click here to read the complementary thread on Twitter.
The exhibition will also feature works by Ashkan Zareie and Frank Stella. Read more about it in THE SITE Public Newsletter.
Happy Halloween. And remember, saints (hallows) are spirits — not bits.

<div class="mirror-content"><h1>​Arian’s Wraithportrait Fixes Gaze On Fifth Avenue</h1><img alt="Image" class="image" src="https://cdn.lu.ma/cdn-cgi/image/format=auto,dpr=2,quality=85,width=800/editor-images/ko/0b3abf31-0c6c-48a4-821c-4b0e54b0a0e1" style="display:block;max-width:100%;max-height:400px;margin:24px auto"/>​We are pleased to announce that ‘Wraithportrait (Sein Porträt),’ a modular-medium artwork by <a href="https://recitmusic.art/arianbagheripourfallah" target="_blank" rel="nofollow noopener">Arian Bagheri Pour Fallah</a>, known mononymously as Arian, will be on display at the <a href="https://cadaf.art/" target="_blank" rel="nofollow noopener">5th Edition of CADAF</a>.​The ‘Wraithportrait,’ subtitled ‘Sein Porträt,’ is a recursive study of the auto-portrait pointing to Arian’s perpetual absence from the real world ever since the completion of his time as Artist in Residence at the Stiftung Künstlerdorf Schöppingen in July 2021 – <a href="https://www.thesite.cc/mensch" target="_blank" rel="nofollow noopener">whereby Arian’s whereabouts have remained unknown</a> even to his closest friends and colleagues, a testament to the blurring of the <a href="https://www.thesite.cc/catechism#Recit" target="_blank" rel="nofollow noopener">récit</a> character and the artist’s life. It is an instance of what Arian calls ‘lived literature,’ with the character, the portrait, and the ‘self’ each reciprocating one another in an idiosyncratic expansion of performance art, breaking with the conventions of the practice as an ossified form, to herald a <a href="https://www.thesite.cc/catechism#Future" target="_blank" rel="nofollow noopener">futuristic return</a> to <a href="https://www.thesite.cc/catechism#Theatre" target="_blank" rel="nofollow noopener">theatre</a>.​Wraith, in Scottish mythology is what German folklore terms a doppelgänger, an apparitional twin whose appearance portends the death of one of the halves. Myths, in Arian’s writings on the récit, compose fundamentally anthropological questions, and are therefore not analyzed in a normative manner. The récit double, whose life is interwoven with that of Arian, through the performance, is he who appears in the portrait as the ‘Self.’​Following this, portending death no longer is treated as a narrative device but an ontological presupposition of the performance. Space and sprawl are considered reciprocal structures in Arian’s 2020 monograph, ‘From Living Currency to Moribund Space,’ which studies the emergence of a new form of capital, from the Nixon shock to the present day, of narrative economics, crypto, modern monetary theory (MMT), but also networks and the underlying spatial dynamics of the Information Age. The work synthesizes the Cartesian proposition, ‘Cogito, ergo sum’ with that of Heidegger, ‘sum moribundus,’ asserting portending death not as ‘someone gravely ill or wounded,’ but ‘insofar as I am, I am moribundus’—The ‘I’, suspended and split in the récit, however, refuses the latter’s formulation of Dasein, pointing instead to perpetual fragmentation and expanding sprawl starting from 1971.​Ever since Arian’s linking of acousmatics with <a href="https://www.cambridge.org/core/journals/organised-sound/article/abs/recit-music-musical-community-in-the-information-age/F90F261AB8958E010A0FF670ECEDBB13" target="_blank" rel="nofollow noopener">the Pandora’s jar</a>, classics have remained key components of modular media. In the Wraithportrait, Arian further takes the 1513 translation of Virgil’s Aeneid by Gavin Douglas, and his interchangeable introduction and use of the term ‘wraith’ for the living as well as the dead, as a dramaturgical device. The portrait is a work of art in the modular medium, therefore, not fixed to any given artform, and composed of modules including living subjects in addition to sensory pieces that conversely correspond to simulacra, in philosophy of information. Despite the tokenization of the work, and Arian’s early assertion that <a href="https://www.thesite.cc/catechism#CryptoArt" target="_blank" rel="nofollow noopener">‘All art from hereon is crypto art’,</a> through the refusal to list and/or market, but even more crucially the rejection of the linking of transience with an emerging technology, e.g., blockchain, the work emphasizes transience and temporal transgression as capacities unique to man, <a href="https://www.thesite.cc/catechism#Teilkunstwerk" target="_blank" rel="nofollow noopener">the most dangerous animal</a>.​Click <a href="https://twitter.com/ArianBPF/status/1591509820540334080" target="_blank" rel="nofollow noopener">here</a> to read the complementary thread on Twitter.​The exhibition will also feature works by <a href="https://recitmusic.art/ashkanzareie" target="_blank" rel="nofollow noopener">Ashkan Zareie</a> and <a href="https://mirror.xyz/0xthesite.eth/-4vIi6DNLHBXEVOLY-UIcmZWXyHffoyB_1r31MHAAl4" target="_blank" rel="nofollow noopener">Frank Stella</a>. Read more about it in <a href="https://mirror.xyz/0xthesite.eth/XlnNmX8qjE4fxJFdYW3FSMLJvkoaxtGO8-Rk2_FJtrY" target="_blank" rel="nofollow noopener">THE SITE Public Newsletter.</a>​Happy Halloween. And remember, saints (hallows) are <a href="https://www.thesite.cc/catechism#Tenets" target="_blank" rel="nofollow noopener">spirits</a> — <a href="https://www.thesite.cc/catechism#Mesa" target="_blank" rel="nofollow noopener">not bits</a>.</div>

Arian’s Wraithportrait Fixes Gaze On Fifth Avenue

The ‘Wraithportrait,’ subtitled ‘Sein Porträt,’ is a 

 from the real world ever since the completion of his time as Artist in Residence at the Stiftung Künstlerdorf Schöppingen in July 2021 – 

whereby Arian’s whereabouts have remained unknown

 even to his closest friends and colleagues, a testament to the blurring of the 

 character and the artist’s life. It is an instance of what Arian calls 

the character, the portrait, and the ‘self’

 each reciprocating one another in an idiosyncratic expansion of performance art, breaking with the conventions of the practice as an ossified form, to herald a 

, in Scottish mythology is what German folklore terms a doppelgänger, an apparitional twin whose appearance portends the death of one of the halves. Myths, in Arian’s writings on the récit, compose 

, and are therefore not analyzed in a normative manner. The 

récit double, whose life is interwoven with that of Arian

, through the performance, is he who appears 

portending death no longer is treated as a narrative device

 but an ontological presupposition of the performance. 

 are considered reciprocal structures in Arian’s 2020 monograph, 

‘From Living Currency to Moribund Space,’

 which studies the emergence of a new form of capital, from the 

narrative economics, crypto, modern monetary theory (MMT),

. The work synthesizes the Cartesian proposition, 

 asserting portending death not as ‘someone gravely ill or wounded,’ but ‘insofar as I am, I am moribundus’—The 

, however, refuses the latter’s formulation of Dasein, pointing instead to

Ever since Arian’s linking of acousmatics with 

, classics have remained key components of modular media. In the Wraithportrait, Arian further takes the 

1513 translation of Virgil’s Aeneid by Gavin Douglas

, and his interchangeable introduction and use of the term ‘

, as a dramaturgical device. The portrait is a work of art in the modular medium, therefore, not fixed to any given artform, and composed of modules including 

living subjects in addition to sensory pieces that conversely correspond to simulacra, in philosophy of information

. Despite the tokenization of the work, and Arian’s early assertion that 

 through the refusal to list and/or market, but even more crucially the rejection of the linking of transience with an emerging technology, e.g., blockchain, the work emphasizes 

transience and temporal transgression as capacities unique to man,

 to read the complementary thread on Twitter.

The exhibition will also feature works by 

Arian Bagheri Pour Fallah at CADAF NYC 2022

We are honored to announce that Arian Bagheri Pour Fallah will be giving a speech at the Royal Anthropological Institute (RAI) 2022 Conference: Anthropology, AI and the Future of Human Society on June 7th, 2022. Arian’s speech, titled Spiel, Kunst, Computation, Consciousness: Beyond the Creator Economy is outlined in the passage below;
Modern physics associates consciousness neither with creativity nor with computation, emphasizing instead awareness of one’s relation to the game played by the given agent, while differentiating between deterministic and algorithmic systems (Penrose). Conversely, algorithmic culture (Striphas), from which contemporary modes of social production e.g., the creator and the attention economy arise, makes no such distinction. In ‘the informational space,’ (Bagheri Pour Fallah) from the centralized landscape of AI to the decentralized proposition of blockchains, algorithms are given precedence, albeit in opposing capacities, through computational excellence, over their human counterparts, provisionally granting the latter the freedom to assume the role of the creator, in an implicitly utopian vision of society. The term ‘creator’ here follows neatly the notion of the ‘prosumer’ (Toffler), taking simultaneous cues from relational and participatory art, asserting itself as the sine qua non of both web2 and web3 architectures of the internet as one coalescing into greater society. This paper asserts the replacement of the terms art and artist with creation (content) and creator to be more than a matter of semantics, and of significant anthropological relevance. Kant’s Anthropology locates man’s horizon as one ‘that goes from the ambiguity of the Spiel (game-toy) to the indecision of the Kunst (art-artifice)’ (Foucault). Similarly, in the existential anthropology of Peter Wust, man is in essence ‘the artist’ in the extent that ‘he is conscious of himself.’ To locate man today is therefore a matter linked with his role in the (network) society, as artist—beyond the creator economy.
Arian’s approach to anthropology spans six closely interlinked strata as follows; (i) technique, per the ethnographic récit, as developed by Michel Leiris, as a direct precursor to Lévi-Strauss’ Tristes Tropiques, best exemplified in Arian’s extended research on acousmatics, catalogued among others by the Max Planck Institute for Empirical Aesthetics, Royal Musical Association, and the Society for Musicology in Ireland; (ii) form, per Clifford Geertz’s translation of concepts from philosophy of mind and language, in particular those of Gilbert Ryle, into evolutionary anthropology, exemplified in Arian’s research on Rylean precursors and successors, most notably, the works of Martin Heidegger and Daniel Dennett, as well as an ongoing project employing bioinformatics and machine-learning techniques for preservation of strictly human phenomena, conjointly conducted with Ashkan Zareie of the Czech Academy of Sciences; (iii) space, as exemplified in Arian’s decade-long work with The Blunder of a Horse, a geo-temporally dispersed art collective operating in urban- and non-urban spaces as distant as Fukaya, Palau, Rome and New York, highlighting space as a distinct mode of being, as opposed to production; in addition to individual projects such as the site-specific artwork, Mensch im Klang Gottes, located at the Stiftung Künstlerdorf Schöppingen and exhibited at the likes of Ars Electronica; (iv) exchange, exemplified in Arian’s monograph, From Living Currency to Moribund Space, recalibrating the early economic anthropology of Mauss and Malinowski for the post-Nixon-shock landscape of emerging counter-political economy, from cryptoeconomics to modern monetary theory (MMT); (v) myth, per Pythagoreanism and broader classics, among others, Lewis Spence’s mythographies of Brittany, best exemplified in the founding documents of The Site; (vi) consciousness, per the emerging anthropology of Kant and the terminal, existential anthropology of Peter Wust, synthesized in Arian’s ongoing research into ‘the creator economy,’ as enabled by two contrasting strands of emerging tech, blockchain and AI.
You can find the conference programme, as well as registration information here.

<div class="mirror-content"><img alt="Image" class="image" src="https://cdn.lu.ma/cdn-cgi/image/format=auto,dpr=2,quality=85,width=800/editor-images/ci/633f87bc-95ad-4bf4-b314-8f64d6b138b8" style="display:block;max-width:100%;max-height:400px;margin:24px auto"/>​We are honored to announce that <a href="https://recitmusic.art/arianbagheripourfallah" target="_blank" rel="nofollow noopener">Arian Bagheri Pour Fallah</a> will be giving a speech at the Royal Anthropological Institute (RAI) 2022 Conference: Anthropology, AI and the Future of Human Society on June 7th, 2022. Arian’s speech, titled Spiel, Kunst, Computation, Consciousness: Beyond the Creator Economy is outlined in the passage below;​Modern physics associates consciousness neither with creativity nor with computation, emphasizing instead awareness of one’s relation to the game played by the given agent, while differentiating between deterministic and algorithmic systems (Penrose). Conversely, algorithmic culture (Striphas), from which contemporary modes of social production e.g., the creator and the attention economy arise, makes no such distinction. In ‘the informational space,’ (Bagheri Pour Fallah) from the centralized landscape of AI to the decentralized proposition of blockchains, algorithms are given precedence, albeit in opposing capacities, through computational excellence, over their human counterparts, provisionally granting the latter the freedom to assume the role of the creator, in an implicitly utopian vision of society. The term ‘creator’ here follows neatly the notion of the ‘prosumer’ (Toffler), taking simultaneous cues from relational and participatory art, asserting itself as the sine qua non of both web2 and web3 architectures of the internet as one coalescing into greater society. This paper asserts the replacement of the terms art and artist with creation (content) and creator to be more than a matter of semantics, and of significant anthropological relevance. Kant’s Anthropology locates man’s horizon as one ‘that goes from the ambiguity of the Spiel (game-toy) to the indecision of the Kunst (art-artifice)’ (Foucault). Similarly, in the existential anthropology of Peter Wust, man is in essence ‘the artist’ in the extent that ‘he is conscious of himself.’ To locate man today is therefore a matter linked with his role in the (network) society, as artist—beyond the creator economy.​Arian’s approach to anthropology spans six closely interlinked strata as follows; (i) technique, per the ethnographic récit, as developed by Michel Leiris, as a direct precursor to Lévi-Strauss’ Tristes Tropiques, best exemplified in Arian’s extended research on acousmatics, catalogued among others by the Max Planck Institute for Empirical Aesthetics, Royal Musical Association, and the Society for Musicology in Ireland; (ii) form, per Clifford Geertz’s translation of concepts from philosophy of mind and language, in particular those of Gilbert Ryle, into evolutionary anthropology, exemplified in Arian’s research on Rylean precursors and successors, most notably, the works of Martin Heidegger and Daniel Dennett, as well as an ongoing project employing bioinformatics and machine-learning techniques for preservation of strictly human phenomena, conjointly conducted with Ashkan Zareie of the Czech Academy of Sciences; (iii) space, as exemplified in Arian’s decade-long work with The Blunder of a Horse, a geo-temporally dispersed art collective operating in urban- and non-urban spaces as distant as Fukaya, Palau, Rome and New York, highlighting space as a distinct mode of being, as opposed to production; in addition to individual projects such as the site-specific artwork, Mensch im Klang Gottes, located at the Stiftung Künstlerdorf Schöppingen and exhibited at the likes of Ars Electronica; (iv) exchange, exemplified in Arian’s monograph, From Living Currency to Moribund Space, recalibrating the early economic anthropology of Mauss and Malinowski for the post-Nixon-shock landscape of emerging counter-political economy, from cryptoeconomics to modern monetary theory (MMT); (v) myth, per Pythagoreanism and broader classics, among others, Lewis Spence’s mythographies of Brittany, best exemplified in the founding documents of The Site; (vi) consciousness, per the emerging anthropology of Kant and the terminal, existential anthropology of Peter Wust, synthesized in Arian’s ongoing research into ‘the creator economy,’ as enabled by two contrasting strands of emerging tech, blockchain and AI.​You can find the conference programme, as well as registration information <a href="https://therai.org.uk/conferences/anthropology-ai-and-the-future-of-human-society" target="_blank" rel="nofollow noopener">here</a>.</div>

Royal Anthropological Institute (RAI) 2022 Conference: Anthropology, AI and the Future of Human Society

Spiel, Kunst, Computation, Consciousness: Beyond the Creator Economy

Modern physics associates consciousness neither with creativity nor with computation, emphasizing instead awareness of one’s relation to the game played by the given agent, while differentiating between deterministic and algorithmic systems (

), from which contemporary modes of social production e.g., the creator and the attention economy arise, makes no such distinction. In ‘the informational space,’ (

) from the centralized landscape of AI to the decentralized proposition of blockchains, algorithms are given precedence, albeit in opposing capacities, through computational excellence, over their human counterparts, provisionally granting the latter the freedom to assume the role of the creator, in an implicitly utopian vision of society. The term ‘creator’ here follows neatly the notion of the ‘prosumer’ (

), taking simultaneous cues from relational and participatory art, asserting itself as the sine qua non of both web2 and web3 architectures of the internet as one coalescing into greater society. This paper asserts the replacement of the terms art and artist with creation (content) and creator to be more than a matter of semantics, and of significant anthropological relevance. Kant’s 

 locates man’s horizon as one ‘that goes from the ambiguity of the Spiel (game-toy) to the indecision of the Kunst (art-artifice)’ (

). Similarly, in the existential anthropology of Peter Wust, man is in essence ‘the artist’ in the extent that ‘he is conscious of himself.’ To locate man today is therefore a matter linked with his role in the (network) society, as artist—beyond 

’s approach to anthropology spans six closely interlinked strata as follows; 

, as developed by Michel Leiris, as a direct precursor to Lévi-Strauss’ 

, best exemplified in Arian’s extended research on acousmatics, catalogued among others by the 

Max Planck Institute for Empirical Aesthetics, Royal Musical Association, and the Society for Musicology in Ireland

, per Clifford Geertz’s translation of concepts from philosophy of mind and language, in particular those of Gilbert Ryle, into evolutionary anthropology, exemplified in Arian’s research on Rylean precursors and successors, most notably, the works of Martin Heidegger and Daniel Dennett, as well as an ongoing project employing bioinformatics and machine-learning techniques for preservation of strictly human phenomena, conjointly conducted with Ashkan Zareie of the 

, as exemplified in Arian’s decade-long work with 

, a geo-temporally dispersed art collective operating in urban- and non-urban spaces as distant as Fukaya, Palau, Rome and New York, highlighting space as a distinct mode of being, as opposed to production; in addition to individual projects such as the site-specific artwork, 

, recalibrating the early economic anthropology of Mauss and Malinowski for the post-Nixon-shock landscape of emerging counter-political economy, from cryptoeconomics to modern monetary theory (MMT); 

, per Pythagoreanism and broader classics, among others, Lewis Spence’s mythographies of Brittany, best exemplified in the founding documents of 

, per the emerging anthropology of Kant and the terminal, existential anthropology of Peter Wust, synthesized in Arian’s ongoing research into ‘the creator economy,’ as enabled by two contrasting strands of emerging tech, blockchain and AI.

You can find the conference programme, as well as registration information 

Arian Bagheri Pour Fallah at the Royal Anthropological Institute (RAI) 2022 Conference: Anthropology, AI and the Future of Human Society

For our first news article, we are delighted to announce that ‘The Singing Tree in the Midst of the Garden I,’ a modular-medium sculpture by Arian Bagheri Pour Fallah, known mononymously as Arian, is currently on display as part of Ars Electronica 2021 Garden London / Zurich.
The work features an idiosyncratic take on land art making an equally unique use of blockchain technology, and is one of the 30 fragments constituting the site-specific artwork, Man in the Sound of God (MENSCH im Klang Gottes), designed by Arian while Artist-in-Residence at the Stiftung Künstlerdorf Schöppingen, earlier this year.
It is worth noting that the ‘file’ on display at the exhibition (derived from the IPFS source of the corresponding NFT) is neither the fragment nor the artwork. In addition to informing how the work is structurally organized (details to follow), this simple given plays a crucial role in the broader theological construction of Mensch. In theology, the tree in the midst of the garden is linked with transgression, on the one end, and the overlap of illusion and reality as material components in man’s existence, on the other. In an interesting serendipity, Ars Electronica spaces are also named Gardens, which we found doubly amusing. More importantly, the work is in dialogue with the exhibition’s main foci; namely, architecture, malleability, and human scale, in ways that are detailed in Arian’s forthcoming, corresponding essays as part of the greater artwork’s public premiere.
Keep an eye out for an exciting announcement as well as further information on the fragment, modular media and the broader project. To be notified, follow the THE SITE’s Instagram account @0xthesite and turn on notifications. Bear in mind that throughout the whole premiere, the most reliable source of information will be RecitMusic.art wherein all information on the project is incrementally gathered. Email newsletters are also available on Substack, Luma, and Twitter.
Visit the exhibition until September 23 using the following link.

<div class="mirror-content"><img alt="Image" class="image" src="https://cdn.lu.ma/cdn-cgi/image/format=auto,dpr=2,quality=85,width=800/editor-images/9u/4a774121-3eaa-48a6-9baa-62ba5d449780" style="display:block;max-width:100%;max-height:400px;margin:24px auto"/>​For our first news article, we are delighted to announce that ‘The Singing Tree in the Midst of the Garden I,’ a modular-medium sculpture by <a href="https://recitmusic.art/arianbagheripourfallah" target="_blank" rel="nofollow noopener">Arian Bagheri Pour Fallah</a>, known mononymously as Arian, is currently on display as part of Ars Electronica 2021 Garden London / Zurich.​The work features an idiosyncratic take on land art making an equally unique use of blockchain technology, and is one of the 30 fragments constituting the site-specific artwork, Man in the Sound of God (MENSCH im Klang Gottes), designed by Arian while Artist-in-Residence at the Stiftung Künstlerdorf Schöppingen, earlier this year.​It is worth noting that the ‘file’ on display at the exhibition (derived from the IPFS source of the corresponding NFT) is neither the fragment nor the artwork. In addition to informing how the work is structurally organized (details to follow), this simple given plays a crucial role in the broader theological construction of Mensch. In theology, the tree in the midst of the garden is linked with transgression, on the one end, and the overlap of illusion and reality as material components in man’s existence, on the other. In an interesting serendipity, Ars Electronica spaces are also named Gardens, which we found doubly amusing. More importantly, the work is in dialogue with the exhibition’s main foci; namely, architecture, malleability, and human scale, in ways that are detailed in Arian’s forthcoming, corresponding essays as part of the greater artwork’s public premiere.​Keep an eye out for an exciting announcement as well as further information on the fragment, modular media and the broader project. To be notified, follow the THE SITE’s Instagram account <a href="https://www.instagram.com/0xthesite" target="_blank" rel="nofollow noopener">@0xthesite</a> and turn on notifications. Bear in mind that throughout the whole premiere, the most reliable source of information will be <a href="http://RecitMusic.art" target="_blank" rel="nofollow noopener">RecitMusic.art</a><a href="http://recitmusic.art/" target="_blank" rel="nofollow noopener"> </a>wherein all information on the project is incrementally gathered. Email newsletters are also available on <a href="https://thesite.substack.com/" target="_blank" rel="nofollow noopener">Substack</a>, <a href="https://lu.ma/Arian" target="_blank" rel="nofollow noopener">Luma</a>, and <a href="https://twitter.com/ArianBPF" target="_blank" rel="nofollow noopener">Twitter</a>.​Visit the exhibition until September 23 using the <a href="https://concretehouse.art/" target="_blank" rel="nofollow noopener">following link</a>.</div>

For our first news article, we are delighted to announce that ‘

The Singing Tree in the Midst of the Garden I

The work features an idiosyncratic take on land art making an equally unique use of blockchain technology, and is one of the 30 fragments constituting the site-specific artwork, 

), designed by Arian while Artist-in-Residence at the 

derived from the IPFS source of the corresponding NFT)

. In addition to informing how the work is structurally organized (

), this simple given plays a crucial role in the broader theological construction of 

. In theology, the tree in the midst of the garden is linked with transgression, on the one end, and the 

overlap of illusion and reality as material components in man’s existence

, on the other. In an interesting serendipity, Ars Electronica spaces are also named 

, which we found doubly amusing. More importantly, the work is in dialogue with the exhibition’s main foci; namely, 

architecture, malleability, and human scale

, in ways that are detailed in Arian’s forthcoming, corresponding essays as part of the greater artwork’s public premiere.

Keep an eye out for an exciting announcement as well as further information on the fragment, modular media and the broader project. To be notified, follow the 

 and turn on notifications. Bear in mind that throughout the whole premiere, the most reliable source of information will be 

wherein all information on the project is incrementally gathered. Email newsletters are also available on 