Ultima Ratio Δ Mountain of the Sun
Cinema devolved into the slow-motion industry: spectacles repeat. Ultima Ratio speeds up by slowing down the image-fix. Traversing the crime-enriched Bekaa valley, the camera uncovers the age-old industries of hashish, models for altering what we see. So too, the camera follows futures, a flash-forwarded optic that seeks to perceive what can be seen anew, cut, particled into vivid fields of matter. “In hashish there is no likeness,” only zero-sites for vision-production then, now as visual senses submitted to the rule of reason. The new reason, as this cinematic skin sees it, is not dead old technology, power and blood, not accelerated nothingness, hype and retro-fascism, but technology, each and every instance, as a talking with the dead–emotions, optics, hashish, radio transmitters, melo-dramas, fiber optic telecommunications, ideologies–and now, hashish as primitive technology, the Now as a science-fiction beyond the double binds, the bad infinities of u-/dys-topia. Instead, a tension-less state, a lack of anxiety over demarcating sapience from sentience, automation from human, intelligence farms from organic machines.They–these name voyagers of the ultimate reason–have no story, it has already happened, spirit became mainframe. Bodies metamorph into databanks. A cinema mixing 3-D objects and documentary footage views this state ahead of the state Δ the future returning as past–Mountain of the Sun.
About Bahar Noorizadeh:
Bahar Noorizadeh is filmmaker, writer, and platform designer. She works on the reformulation of hegemonic time narratives as they collapse in the face of speculation: philosophical, financial, legal, futural, etc. Her work has appeared in the Tate Modern Artists’ Cinema Program, DIS Art platform, Transmediale Festival, Berlinale Forum Expanded, Geneva Biennale of Moving Images, and Beirut Art Center, among others. Noorizadeh is a founding member of BLOCC (Building Leverage over Creative Capitalism), a research and education platform that proposes pedagogy as a strategy to alter the relationship between Contemporary Art and urban renewal. Her current research examines the intersections of finance, Contemporary Art and emerging technology, building on the notion of “Weird Economies” to precipitate a cross-disciplinary approach to economic futurism and post-financialization imaginaries. She is pursuing this as a PhD candidate in Art at Goldsmiths, University of London where she holds a SSHRC Doctoral Fellowship.