Obotó 1 appears in the liquid screen. She is the mother of the sea, who swallows everything. She is a wet spirit, she is umuntu, animal, and wetware. It said that she cannibalizes the colonist, eating his head and rendering him Acephalous.2 She brings his body down to the ancestors and deities in the Death flat, where identity logic loses all authority. Being devoured by her belly is not a bad thing. The body becomes the fruit of decay. Obotó erases the line between the living and the dead, between the organic and the inorganic. In becoming headless, Acephalous loses anthropocentric representation. [New life is born of the decaying head].
Some of us must pretend to align with human law, but we know inside our body there inhabits a stranger, who speaks a thousand languages and silences and activates the function (I) → eπ−2⋅ϕ=ln(5) A synovial fluid pours out of its words >>>>>>>>> says V=(1)(+7)+(4)(−2)=−1. Despite our fear, we want to be eaten. Our pain threshold is an indifferent lump, only Obotó’s isometric mandibular force cures us, saying “funnel” (((((((0))))))), we draw her virtual presence, I wish her machine would chew me. Nerve × Fang [[[[∄]]]] She contaminates the silicon pathogen, I feel it like a marine mist incense 17.72 Mb Chr 4:66.75-66.85. My organism has always been in war > Drive, desire, persistence. Trying to understand the matter means spit out the phlegm [Alienated Allied Body]. I see myself in third person, simulating the path ⇄ M://id/cavity/$1E. File memory ${[A-Za-z0-9-]+}(:${[A-Za-z0-9-]+})?. Patterns summon spirits behind our backs.
The construct cunt activates the Program 3 [Obotó], an animal of insurrectionary flows. She is an input to the unknown voids within us. Her gaze suggests no one #0,0,0. The source code camouflaged, cell = i ** 2 print(“cell of:”, i, “is:”, cell), appearance braids in mirrored faces. The marine worm’s waterspout opens. Looping} Descending to zero O> Execute.
She breaks the dominant computational domain, liquefies systems with her flux. Those of us who fantasize about opening interstices emp1 = Employee(“f”, open) emp1. Show(), feel the vertigo of becoming spores, diasporic, nomadic, dispossessed, non-teleological algorithms of n-1, infinite variants $0. —I want to be swallowed in your belly, Obotó! I am Oshún’s daughter, show me the knot that weaves the living with the dead – my artifice with your nature.” The clitoris is a direct line to the matrix4
In outside directions, organs are dissolved it, sliding through the water in an undulatory wave, a viscous quantity running in circles (PV=nRT ∩ fear) P⋅V=k1. Until dysmorphic erotics emerge and Obotó’s bastard synthetic daughters proliferate.5 Corrupt flux is a hot-cold inlet. —“Vision consists above all in seeing water”6 She told me. Seeing through with liquids is Clairvoyance, splashing makes furious to owner-land stillness.
[[[[T]]]] With no way to differentiate the strangers, sets are intercepted> Under the skin tentacles come out to copy and paste the umuntu [Zulu umuntu ngumuntu ngabantu] all we want is to be affected by magic. Liquid intelligence connects the threads of data|||||| nerve, desire, lick. Destiny in flux and weave, energy pushes from the underground sun. Given the instructions, the portal:/ is closed
⟠==≡≡≡⟠—∆—⟠===⟅⟅⟅⟅ ∅⟅⟅⟅⟅∅∅∅∅
- In reference to Manuel Zapata Olivella’s novel Changó The Biggest Badass, 1983, pg 114. Slaves pray to be devoured by Obotó’s belly instead of being captured by the colonist ↩︎
- For Bataille, the Acephalous is a transgression symbol: the rejection of hierarchy and conventional societal governed by reason and authority ↩︎
- Plant, Sadie. Feminisations: Reflections on Women and Virtual Reality. 1996 ↩︎
- VNS Matrix. A Cyberfeminist Manifesto for the 21st Century, 1991. ↩︎
- In reference to Aphotic Feminism. 1nx Gender Acceleration: A Black Document, 2018
↩︎ - Deleuze Gilles, Seminar on Anti-Oedipus/A Thousand Plateaus, 1972-1973. ↩︎
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Samanta García is a Colombian artist based in Atlanta, GA. Her trajectory began as a performer in contemporary music, noise, metal scene and technofeminist collectives to develop a practice around video/sound performances, procedural visuals and programming. https://samantareferences.hotglue.me/
Samanta’s work delves poetic and materiality of technology, often in relation to the desires, fictions and complexities of the posthuman and the synthetic. She has facilitated workshops, residences, acted as lecturer on questions relating to cyberfeminism, hacker education and collaborative creation. Her most recent work includes the album ESTOMA (2023) and the collaboration with the music group Venera.
Chris Hunt as sound designer @_veneramusic
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