The seventh stage of the HUMAN Project is a translation between the premise and conclusion of the demarche – therefore it stands for a bridge linking the formal and the analytical. The space of display has no longer the role of the classic art gallery, as “the gallery”, acquiring laboratory’s function, can include gangways, stores, sinks, etc. able to connect in between several spots of the Universe.

This stage followed two steps:

In the first step I planted a series of 10 transmitters-receptors (little leather men with predefined functions), grouped two by two; each of these five pairs was placed in one British site well-known for its ancestral culture: Stonehenge, Avebury, Stanton Drew stone circles, Glastonbury Tor and Old Sarum. It is the first pace in constructing the network.

In the second step (40 days: 12.11–21.12.2012), in the space of Paleologu Gallery I organised a laboratory able to receive, transmit and amalgamate the information coming from several sources. My aim was to create a post-human / post-traumatic culture in five geometrical-humanoid aquariums. (The figures which recur during the stage belong to a base 3 number system for signal transmitting and processing.)

This pace implied the following elements: 7 anthropomorphic chairs on which nobody has ever sat down, 5 basic aquariums, transmitters-and-receptors and 1 ongoing parietal drawing. Each anthropomorphic chair had on its back a drawn piece of leather: the images rendered 7 dreams of the Virgin, the symbol and emblem of protection in many cultures. PostTrauma and its culture can be generated and accompanied only in the vicinity of a protection resort. He who “visited” the laboratory during these 40 days became a human source of information. On each drawn piece of leather, among the “swarming” little men, there were, apparently unseen, transmitters-and-receptors, the homologues of those planted in the sites of the five archaic stone cultures. Going along the drawing network, the upholder activated the receiver-and-transmitter, which retrieved the information and put it about.

Drawing on the wall for 40 days, I “played” interface’s role for the information emitted by the two sources, without passing, analysing and processing the received data through my own filter. I came closer to what one could call “automatic dictation”, as the information flux was directed and turned into parietal drawings. After 40 days I got on the wall the final drawing. I divided it into 88 sectors which I further erased. The information residuum and its included concept were to be used in the study and development of the post-human / post-traumatic culture.

The exhibition was displayed at Paleologu Gallery, Bucharest, Romania.