Na platformah kognitivnega suženjstva odpiramo portale, ki širijo pozabljeno magijo skupnosti. Digitalni heretiki in čarovnice današnjega časa obujamo alternativne taktike preživetja. Smo senzorji sveta, mahovi, ki preraščajo razpoke v sistemu, ki je kolapsial pod lastno težo.
Digitalni gobelin vleče paralele med srednjeveškimi fevdalističnimi in sodobnimi tehnofevdalističnimi strukturami nadzora. V časih, ko nas vedno bolj ogrožajo algoritmični sistemi, Beti Frim rešitev vidi v osvobajanju skozi principe glitch feminizma, ki v sistematičnih napakah digitalnih sistemov in umetne inteligence ne vidi napak, temveč priložnost za upor in povrnitev politične moči. Marginalizirane skupnosti, ki jih sistem pogosto označi za napako ali jih ne prepozna, lahko to nevidnost izkoristijo za podtalno delovanje, destabiliziranje obstoječega sistema in odpiranje prostora za drugačno prihodnost.
V svojem delu izpostavlja, da je v obdobju kolapsa čas za ciklično vrnitev kolektivno pozabljenih taktik preživetja in skupnostnega delovanja. Pri tem se obrača k podobnim gibanjem iz preteklosti – k srednjeveškim heretikom, ki so se upirali fevdalnim strukturam, in k čarovnicam, kot nosilkam prepovedanega znanja. Zdi se namreč, da ista logika, ki je takrat poganjala lov na čarovnice in preganjanje heretikov, danes usmerjajo digitalne platforme: sistematično omejevanje avtonomnega znanja, nadzor nad telesi in ponovna vzpostavitev preteklih hierarhij.
Projekt Feral Occlusion idejo skupnosti udejanja v interaktivnem digitalnem okolju – sodobni interpretaciji srednjeveškega trga, ki okoli ognja zbira prisotnost vseh obiskovalcev in obiskovalk razstave, ki se lahko pridružijo prek drugih zaslonov. Vsak karakter v prostor ob ognju vstopa v obliki različnih spletno viralnih ljubkih živali ter jih na ta način osvobodi algoritma in jim omogoči novo vlogo spremljevalk, zaščitnic in posrednic skrivnih informacij. Delo tako postane prostor, kjer kolektivna prisotnost vzpostavlja novo obliko skupnostnega delovanja, omogoča dekodiranje konspiratornih zgodb in odpira vprašanja o načinih povezovanja ter izmenjave znanj v današnjem digitalno odvisnem svetu.
Beti Frim aka Pixel Bambi (2001) je končala dodiplomski študij vizualnih komunikacij, magistrski študij pa nadaljuje na smeri Video in novi mediji na Akademiji za likovno umetnost in oblikovanje v Ljubljani. V svojem delu se z združevanjem digitalnih in analognih medijev v audio-vizualnih pripovedih osredotoča na temo sobivanja. Z raziskovanjem post-internetne estetike v kombinaciji z naravno, išče povezave med različnimi perspektivami v vizualno prenasičenem svetu. Na likovnem področju je razstavljala v okviru platforme Kres v osmo/zi, s kolektivom Xenoscapers sodelovala na BIO28 ter z delom From Moss-centric era na 35. grafičnem bienalu v Ljubljani. Deluje tudi na glasbenem področju, kjer je z audio-vizualnimi projekti sodelovala na festivalih kot so Sonica, Grounded, Niansa, Rdeče zore ter s kolektivoma Ustanova in Nimaš izbire.
(ENG)
On the platforms of cognitive slavery, we open portals that spread the forgotten magic of community. As the digital heretics and witches of our time, we revive alternative tactics for survival. We are the world’s sensors, the mosses that grow over the cracks in a system that has collapsed under its own weight.
The digital tapestry draws parallels between medieval feudal and contemporary techno-feudal structures of control. In an era when we are increasingly threatened by algorithmic systems, Beti Frim sees liberation through the principles of glitch feminism, which views the systematic errors of digital systems and artificial intelligence not as flaws, but as opportunities for resistance and the reclamation of political power. Marginalised communities, which the system often labels as errors or fails to recognise, can exploit this invisibility to operate underground, destabilise the existing system, and open up space for a different future.
In her work, she emphasizes that during a period of collapse, there is an opportunity for the cyclical return of collectively forgotten tactics of survival and communal action. In doing so, she draws on similar movements from the past – the medieval heretics who resisted feudal structures, and witches as bearers of forbidden knowledge. It seems, in fact, that the same logic that once drove the witch hunts and the persecution of heretics now guides digital platforms: the systematic restriction of autonomous knowledge, control over bodies, and the reestablishment of past hierarchies.
The Feral Occlusion project brings the community’s idea to life in an interactive digital environment – a contemporary interpretation of a medieval marketplace that gathers all exhibition visitors around a fire, allowing them to join in via other screens. Each character enters the space around the fire in the form of various cute, viral animals, thereby freeing them from the algorithm and granting them a new role as companions, protectors, and mediators of secret information. The work thus becomes a space where collective presence establishes a new form of communal action, enables the decoding of conspiratorial narratives, and raises questions about modes of connection and the exchange of knowledge in today’s digitally dependent world.
Beti Frim aka Pixel Bambi (2001) completed her Bachelor's degree in Visual Communication and continues her Master's degree in Video and New Media at the Academy of Fine Arts and Design in Ljubljana. Her work focuses on the theme of coexistence by combining digital and analogue media in audio-visual narratives. By exploring post-internet aesthetics in combination with the natural, she seeks connections between different perspectives in a visually oversaturated world. In the field of visual art, she has exhibited as part of the platform Kres in osmo/za, participated in BIO28 with the collective Xenoscapers and in the 35th Ljubljana Graphic Biennial with her work From Moss-centric era. She is also active in the field of music, with audio-visual projects at festivals such as Sonica, Grounded, Niansa, Red Dawn, and with the collectives Ustanova and Nimaš Izbire.
