08.2024
"Kindness in Men", "Bio-Computing", "The Torch", "The Collector" and "Know Thyself"

Performed by Alex Bilogub and directed by Aljoscha at the National Circus of Ukraine, Kyiv.

"Kindness in Men"

The ventromedial prefrontal cortex sparks as the old clown discovers a bioism. Initially skeptical, he scrutinizes it, questioning its gentle nature. Then, he perceives it as a child, a strange baby-creature. His demeanor softens instantly. Bilogub gently takes the bioism in his hands, cradling it with tender care, caressing its delicate form and humming lullabies until it falls asleep.
This act is about deep-seated tenderness and kindness in men, biologically rooted in evolutionary and neurobiological mechanisms. Paternal instincts activate through the release of oxytocin and vasopressin, fostering bonding and caregiving behaviors that reinforce social cohesion and the protection of offspring.
The old clown’s sudden tenderness reflects these intrinsic adult human qualities. The act of cradling and soothing the bioism triggers neural pathways associated with empathy and compassion. Alongside the ventromedial prefrontal cortex, the amygdala and hypothalamus play crucial roles in promoting protective and loving actions.
Experienced skepticism can be instantly switched further to tenderness with almost limitless innate capacity for kindness. The biological roots of caregiving remind us of the universal power of empathy and love, transcending skepticism and fear to nurture even the most unexpected forms of life.

«Bio-Computing»

Madness in biological information sciences: the old clown sits under a plastic shelter, speedily typing on a keyboard connected not to a computer but to bioisms. The scene borders on the surreal. What is going on? Is this monkey business? What kind of depeche is he composing? To whom, and what about?
The situation grows more insane as the clown occasionally strikes the bioisms, which scream in response. The odd interaction suggests a twisted form of bio-computing, where living organisms are forced to process data. Finally, exhausted, the clown finishes his task, packs the bioisms in plastic, and departs.
This performance underscores the potential misuse of accumulated biological information. Bioisms, representing genetically engineered entities, are forced laborers in data processing, highlighting ethical concerns. In modern bioinformatics, beings are not merely physical resources but increasingly information repositories, holding vast genetic and biological data.
The clown’s actions reflect a dystopian reality where biological entities are exploited for their informational value. This scenario warns of the dangers in treating living organisms as mere data processors, emphasizing the need for bioethical boundaries.










«The Torch»

We are aiming for the planets and stars, but the biology of the oceans remains largely undiscovered. Despite scientific advances, our brain remains largely uncharted, with vast territories left unexplored. Our dreams, rich and multi-dimensional, starkly contrast with our waking perception, often confined to a simpler, two-dimensional plane. The old clown lies on the arena floor, lifting a large Olympic torch filled with bioisms. In his enigmatic dreams, he runs: hands moving, legs running fast. Suddenly, he becomes aware of a third, vertical dimension. He stands, lifts his Prometheus's torch high.
Individual bioisms are all fall apart. A once sparkling dream is gone, replaced by the odd gravitation. The sad old clown picks up a single orange bioism and quietly smuggles it to the empty chairs. Together, they sit, watching the desolated space.
Dreams illuminate the brain's remarkable capability to forge vivid experiences, aspirations and the ephemeral nature of hope. The torch's disintegration into bioisms signifies the intrusion of complexity, controversy and the fragility of our knowledge and imagination.










"The Collector"

The old clown, “The Collector,” sweeps his net, capturing bioisms. Though weary, he relentlessly increases his collection. Some bioisms end up in a hamster cage, imprisoned, as he carries them away. This scene is about the biological roots of collecting, an instinctive behavior seen across species. Humans, the most successful and dangerous predators, are driven by survival instincts and the brain’s reward system. Dopamine release reinforces collecting activities, yet ethical complexities arise when living beings are imprisoned. The performance critiques confining bioisms, paralleling debates about zoos and circuses where animals are deprived of natural behaviors and freedom.
The part of Aljoscha’s visionary statement: “Art museums of the future could evolve into zoological gardens, galleries into new life diversity funds, and studios into laboratories of biological complexity,” adds controversy, imagining art spaces as sanctuaries for life and emphasizing conservation of diversity.
Bioism aims to disseminate new, limitless life forms throughout the universe, mainly opposing The Collector’s actions. This statement highlights the tension between the desire to possess and the need to respect life's multiplicity. The Collector’s relentless drive contrasts with preserving life’s autonomy. His actions pose bioethical conflicts, urging a reconsideration of how we value and interact with diverse life forms and how we respect the freedom of living beings.




















"Know Thyself"

"Know Thyself", an ancient maxim inscribed at the Temple of Apollo at Delphi, and earlier in ancient Egypt, has guided philosophical inquiry for millennia.
Biologically, self-reflection engages neural activity in the medial prefrontal cortex and posterior cingulate cortex, both crucial for introspection and self-awareness. These processes activate pathways that help us evaluate and understand our behaviors and thoughts, fostering a profound sense of self and consciousness.
In a clown's dressing room, the artist sits before a mirror, slowly removing his makeup with a transparent bioism. As the makeup transfers, the bioism transforms, painted into something new, reflecting themes of identity and self-knowledge.
The Bilogub’s action mirrors this timeless pursuit of self-awareness and authentic existence. By removing his mask, he confronts his true self, delving beyond superficial layers. In the mirror, he observes not just his own reflection but also the transformation of the bioism, now altered and colored with his essence.
The bioism’s transformation mirrors the process of self-discovery, where aspects of oneself are examined, questioned, and never fully understood. As the clown’s makeup alters the bioism, it suggests how our interactions and experiences continually reshape our identity.
This performance raises critical questions about the nature of self and identity. Is identity a rigid static concept, or is it an ever-changing, ultra-complex stream of processes influenced by the world, our actions, and experiences? The transference of makeup suggests that identity is fluid, capable of change and renewal. Our imagined, never-existing selves as visions are shaped by both internal reflections and external interactions.