08.2024
«Irrational Tendencies» and «Protective Pathos»

Performed by Sergyi Belskyi and directed by Aljoscha at the State Circus of Krywyj Rih, Ukraine.

The sardonic performance by Belskyi in a long black coat boldly shows the antinomy of human irrationality by employing behavioristic and philosophical elements. He enters the circus arena, stands atop a two-step pedestal symbolizing the ascendancy of choice, and reveals a strange red ball-like bioism creature — a being that strikingly resembles an oversized final action button. Bioism, which synthesizes biological principles with bioethical paradoxes, manifests in the red creature, symbolizing both life’s wonderful potential and the dire consequences of human actions. The creature’s resemblance to a danger-button heightens the tension between creation and mass destruction. At the climax, the clown’s choice to sit on the bioism button-being, while laughingly dismissing potential consequences, epitomizes the paradox between human ethos and inherent irrationality. This action shows how well-intended decisions can devolve into catastrophic outcomes driven by evolutionary inherited irrational impulses. Neurobiologically, this conflict reflects the dichotomy between the rational functions of the prefrontal cortex and the primal impulses governed by subcortical structures. The act of sitting on the button-creature, with its dystopian connotations, evokes complex ethical dilemmas surrounding the use of mass destruction weapons, whether biological or technological. It encapsulates humanity’s dual capacity for nurturing and annihilation, reflecting the precarious balance between ethical agency and destructive will. Psychologically, the performance manipulates primal responses through vivid and emotive stimuli. The clown’s mirth and apparent insouciance in the face of potential catastrophe mirror the unpredictability and paradoxical essence of human behavior. This momentary disregard for consequences epitomizes the irrational tendencies that historically influence human decisions and societal choices. While good intentions might lean towards ethical reasoning and constructive endeavors, actions frequently defy rational forethought, sometimes leading to cataclysmic ends.

«Protective Pathos»

In the second performance, a pathetic clown meets a fragile, transparent flower-like bioism lying on the dirty floor amidst the chaos of war. This frail ans sparkling bio-creature, radiating fragility of life, contrasts starkly with the surrounding wretchedness. Consumed by inner fear and a protective instinct, the clown drags a heavy cut metal sheet to shield both himself and the bioism from the existential threat.
Belskyi's action typifies "biological altruism," where protection efforts often lead to "iatrogenic harm," damage resulting from protective actions. As the clown rearranges the metal shelter, his irrational anxiety and psychological vulnerability cloud his judgment, illustrating the cognitive dissonance exacerbated by the ongoing war crimes.
The performance culminates tragically as the metal sheet crashes down, burying the bioism: metaphorically offering how well intentioned defenses can lead to calamitous outcomes, a notion evident in ecological damage from protective actions similar to pesticide overuse. The following clown's grief exemplifies the philosophical paradox of "the law of unintended consequences," accentuating how our efforts to protect can inadvertently multiply destruction. Psychologically, the clown’s actions illustrate "defensive pessimism," a coping mechanism where fear increases exponentially counterproductive actions, exacerbating harm. This reveals wartime irrationality, where even protective instincts can morph into destructive disasters.
The crushed bioism under the metal sheet remains as a grim reminder of the potential snowballing costs of war, urging a re-evaluation of our approaches to safeguarding life in the face of global biological, nuclear and potentially even nano- vulnerability.