There are no more metaphors, allegories, symbols,
There are
Signs, systems, models

Connecting two modules::
The process is coordinated with the planned time series.
There are three series::
The third one is death!
Death is an absolute event in direct contact with the absolute nothing.
Fear of death is fear of one’s own observing mind.
We are constantly analyzing our purpose,
Over and over,
We conceptualize ourselves
That is why death is always a distant event.
There are natural, planned, exceptional, and artistic events
And then there is the absolute event
Reason enters “life” and is immediately followed by deadly concentration.
Deadly concentration!
The planned act follows.
First series::
There is no room left for consciousness. Everything is processed by a truly challenging scheme of a polysemic systemic planetary organization.
Only the opening tool is human.
Meanwhile, the technological is emancipated from the human.
We are in the second temporal series
Self-awareness comes, a triumphant stylistic formation,
We are a division of the observing mind
Divorced from flesh and blood,
So that only bone and a fragment of three-dimensional black remain of it:
The modular – the second evolutionary march through the universal.
Both modules slide to the point of the planetary equation
A quote seven years later
“Every form has its optimum distance at which it can best be seen, and a certain orientation that presents it meaningfully: before and beyond that there is only an indistinct idea or insufficient perception of it. So we aspire to its meaningful visibility. We seek its clearest picture in the micro world, a picture that can be obtained when the inner and outer horizons are in balance. When seen from too close, a living body is no longer a living body but a material mass as foreign as the surface of an alien planet. Observed from too far away, a living body again loses its value of living. A living body comes into focus when its structure, many times reduced or magnified, is neither excessively nor insufficiently visible. The distance between me and the form is not of a growing or diminishing size, but of tension. There is a certain degree of maturity to my perception.”
The maturity of the view.

That is why the real strategy of life lies in art events::
Postgravity strategy::Telecosmism
Culturization of space::KSEVT

In the end, the third time series starts::

The organs have been collected into a functional whole. Death has been joined with the language of vision. A cosmic performance for an immortal cosmic observer.
The sun is a viewer of our performances.

There is no death!

Dragan Živadinov::Dunja Zupančič::Miha Turšič


Dragan Živadinov through his Sisters of Scipio Nasica Theatre e was one of the founding members of NSK. Ever since the 1980s, he has been passionately concerned with the creation a “space theatre”, the overcoming of gravity, and the unification of art and science. One of the central inspirations for his work is the book The Problem of Space Travel by Herman Potočnik Noordung, which first appeared in German in 1929; a Slovene translation was published in 1986. This was a pioneering study in the problems of gravity and how to overcome them; the book also included, for the first time in history, an illustrated design for a rotating space station. Since 1987, Živadinov has been regularly developing projects associated with this pioneer of space science.1 In 2006, he and his colleagues Miha Turšič and Dunja Zupančič even succeeded in convincing the local dignitaries in Vitanje – a small Slovene village where Noordung once lived – as well as the Slovene government, to build the Cultural Centre of European Space Technologies there in Noordung’s memory. The program of the new institution, which opened in 2012, was developed by the three artists and is based on the concept of the culturalization of space. This concept is critical of today’s mainstream space science, which is succumbing to the militarization and commercialization of space. The culturalization of space, meanwhile, is organically linked to the concept of post-gravity art, a form of art that will supposedly develop under conditions of weightlessness and be realized somewhere apart from our planet. This concept of Živadinov and his colleagues can be realized only when, in his words, the next evolutionary leap has occurred – which is connected with the development of our creative abilities in weightlessness. All of this, however, requires the kind of research and education for which the new institution in Vitanje has been designed.



1 The projects by Dragan Živadinov and his colleagues were created as part of the Cosmokinetic Theatre Red Pilot, founded in 1987 and renamed in 1990 as the Cosmokinetic Cabinet Noordung.