08.2024
«The Exhibitionism», «The Wonder», «The Quest To Overcome Death» and «The Harmony»

Performed by Oleksii Krasnykh with Vyacheslav Sisin and directed by Aljoscha at the State Circus of Zaporizhzhia, Ukraine.

Exhibitionism, characterized by the exposure of one's genitals to an unsuspecting observer, biologically can be considered as an extension of sexual signaling mechanisms observed in many species. In the depicted scenario, a clown reveals not his genitalia but a bizarre, carmine bioism creature. This surreal act aligns with exhibitionistic behaviors rooted in evolutionary biology. Exhibitionism may have evolved as a strategy for individuals to display dominance, attract mates, or convey genetic fitness, which biologically, can be linked to biofacts and arts in general, where physical displays signal outstanding deviations, which often linked with diversity, ambitions and vitality. By showcasing one's sexual potential, individuals might improve reproductive success and social status. Dominance displays are prevalent across species, facilitating hierarchical positioning, which influences access to resources and mating opportunities. Bioism, as biofuturistic and bioethical fusion, accentuates these paradoxes by reimagining living forms and their roles in communication and attraction. The integration of bioism creatures underscores human fascination with and manipulation of biology to question and reinterpret human identity, status, and evolutionary drives within a biofuturistic framework. This could redefine societal norms and ethical boundaries, reflecting humanity's quest for domination and continual redefinition of sexual potential in an paradise engineered world.

«The Wonder»

The human inclination to create and believe in wonders, although romanticized as a driver of progress, unveils another paradoxical facet of our biology. This need for astonishment, tied to the brain's reward system with dopamine release, could highlight a deeper existential void. Evolutionary, this impulse promotes cognitive flexibility and exploration, crucial for survival, yet underscores our inherent dissatisfaction and restless quest for meaning. The awe from wonders fosters communal bonds, but masks social dependencies and the fragility of individualism. Religious and spiritual beliefs, often intertwined with wonders, meet psychological needs, reducing anxiety and promoting cohesion, yet also reveal our susceptibility to manipulation and delusions advantageous for group survival. Creativity fueled by wonder propels arts, science, and technology. However, ancient marvels often reflect humanity's compulsion for ideological dominance over nature. Bioism, while blending biology and radical creativity, captures this paradox, creating novel living forms that challenge natural evolution and human identity. The essence of bioism is found within the profane egg-symbol, symbolizing life's potential and fragility. Critically, the mass dependency on wonders as simple solutions, especially in times of war, appears ridiculous. It reflects a societal retreat into fantasy when faced with complex realities. Ultimately, the will to create and believe in wonders, while biologically ingrained and socially advantageous, reveals deeper vulnerabilities. The egg encapsulates this, exemplifying life's miraculous improbability and our existence's fragility, challenging and redefining perception of life and creativity through bioethics.
















"The Quest To Overcome Death"

The performance features a clown team attempting to save a fragile, chicken-like bioism creature, symbolizing our efforts to defy mortality. Bioism questions biological principles through artistic act, creating novel life forms as biofacts that provoke scientific and philosophical contemplation on life and death.
The termination of life, seemingly an inevitable biological process, is governed by mechanisms like senescence, apoptosis, and necrosis. Senescence involves the cessation of cell division, often leading to aging and the decline of bodily functions. Apoptosis, a programmed cell death, ensures the removal of damaged or unnecessary cells, preserving tissue health. Necrosis, an uncontrolled process, often results from trauma or infection, leading to cellular rupture and inflammation. Despite these biological necessities, the quest to overcome death and prolong life remains a central human and biological drive, which is an important issue of transhumanism and bioism.
From a scientific perspective, some species exhibit remarkable longevity. For instance, the ocean quahog ("Arctica islandica") can live over 500 years, and the Greenland shark ("Somniosus microcephalus") has a lifespan exceeding 400 years. The freshwater hydra displays potential biological immortality, avoiding senescence altogether. These examples offer insights into mechanisms that can delay aging and death. Research on telomeres and telomerase, aiming to extend lifespan by preventing cellular senescence, highlights progress towards longevity. Therapeutic strategies targeting apoptosis pathways aim to prevent unnecessary cell death associated with diseases like neurodegeneration and cancer. Regenerative medicine, through stem cell therapy, explores the potential to replace damaged tissues, contributing to the pursuit of prolonged life.
However, the concept of biological immortality presents complex challenges. While certain species display exceptional longevity or negligible senescence, absolute biological immortality still remains theoretically implausible due to the accumulating cellular damage and the limitations of current scientific interventions.
The clown's futile attempt to save the bioism creature reflects real-world scientific endeavors. Despite advancements, complete mastery over aging and death eludes us. This performance underscores the inherent limitations within biological systems and the ongoing efforts to understand and potentially extend life’s boundaries.
The clown's performance with the chicken-like bioism creature serves as a symbolic reminder of our relentless pursuit to overcome death and the scientific challenges that persist. The intersection of art and biology invites ongoing exploration into the delicate balance of life and the end of ontological perception.










"The Harmony"

The use of unconventional instruments in performance art creates unique soundscapes that challenge our perceptions, merging aspects of biology, physics, with principles of acoustics and biomechanics and bioism. In this sketch, Oleksii Krasnykh uses a large saw instead of a viola to produce an alien-like sound harmony, playfully expanding these principles.
When Krasnykh bows the saw, friction between the bow hair and the metal surface induces vibrations across the saw's blade. These vibrations propagate as mechanical waves, creating strange and cool, rather unearthly abstract sound. The saw acts as a resonator, amplifying these vibrations, and the sound depends on the saw's material properties and tension.
By bending the saw into an S-curve, altering tension and curvature, Oleksii changes the vibration frequency, producing different pitches. This process requires precise muscular control and coordination, engaging extraordinary motor skills and auditory feedback mechanisms.
Biologically, human perception of these sounds engages the auditory system, including the outer, middle, and inner ear structures. Vibrations generated by the saw are collected by the outer ear, transmitted through the ossicles of the middle ear to the cochlea in the inner ear, and then converted into neural signals by hair cells, traveling to the brain. The alien-like quality of the sound arises from its unconventional frequency spectrum and timbre, stimulating unique auditory pathways compared to traditional instruments.
In the context of bioism, the performance transcends traditional composition by incorporating elements of extraterrestrial purposeless world. Bioism blends biofacts, mirrored in the clown’s use of a saw into familiar and yet unexpected soundscapes. The saw’s vibrations, influenced by the performer’s biological interaction, generate sounds that evoke natural, yet unearthly, biofuturistic auditory experiences. Paradoxically, while the saw is typically an instrument of destruction and cutting apart, in this setting, it becomes an instrument of harmonic evolvement.
This gag-like use of a saw emphasizes the plasticity of sound perception and neural mechanisms in interpreting novel auditory stimuli. It underscores the adaptability of the human sensory system and its ability to process and create unconventional imaginative sound dreamscapes.