Since mid 2000’s, the online presence of mysterious nature/tech cult AUJIK quietly spread across video platforms featuring proposed active members and fabricated histories. These virtual appearances suggested decades-old lineage through theoretical schematics outlining their transgressive mission, citing faux reports arguing the life of inanimate matter and modern forms of animism from fictional anthropologists and philosophers. Animated imagery of organic-mechanical hybrids manifest in Japanese forests amidst cloaked figures is paired with a sonic atmosphere set by Mira Calix, Scottish musician Christ and as well as other electronic artists. “Technology can help nature understand itself,” affirm AUJIK narrators, offering new ideologies reminiscent of Shintoism.
For AUJIK, nature is divided into Refined and Primitive categories. This seperation presents a conflict that is the root of all chaos in the world, and in order to reach a sublime state, AUJIK generates rituals to harmonize the organic and synthetic realms. Refined nature consists of evolved technology such as robotics, artificial intelligence, cybernetics, DNA manipulations, and body enhancements. The Primitive includes fauna, flora, and the Earth itself with its precious stones, minerals, and metals. The pulsating foliage and advanced interfaces that emerge in the biosphere serve as sacred artifacts, visions of a futurist environment. Through crossbreeds of biotic and technological systems, AUJIK’s animism for the Digital Age presents new possibilities for evolution and strives for Post-Human nirvana.
AUJIK’s multi-media works have been showcased in galleries, museums, and festivals worldwide including the Prix Ars Electronica, OneDotZero London BFI 2011 & 2013, SIGGRAPH Asia, CMoDA Beijing, Biwako Biennale 2012 & 2014, and Japan Media Arts Festival.
By JC Gonzo. Curator and creator of the End of Being.