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When the first image of Earth was captured from space, humanity stood at a profound crossroads.

Beyond the remarkable technical achievement, for the first time, as we beheld the magnificent sphere suspended in the vastness of space, humanity could vividly imagine what it would be like to exist outside our ecosystem and, most importantly, beyond ourselves. Gazing upon the image returned from outer space, we were deeply moved by the sight of an unimaginable infinity. No longer were there undisturbed notions of up or down, and human-made ideas or computational models could no longer confine existence to its usual places. Nature, objectified due to its uncontrollability, now more than ever, asserted its surprisingly incomprehensible force, far beyond any human creation or explanation to contain it — even though many, in denial, turned it into an artifact, keeping it available for predatory exploration.

From that point onward, rapid technological advancement enabled increasingly vast journeys both macro and microscopic, exploring the expanses of both the stars and cells. Like never before, the scales of reality varied radically. It was in this context that the perception sharpened that a considerable percentage of the so-called "human" body functions based on other beings that coexist in such corporealization. We were no longer just humans. We were, from then on, carriers and part of many worlds, within and beyond us. By the way, where was inside, where was outside? Existence is spheres within spheres, successively, without surface, without depth.

In this scenario, Dr. Lollipop emerges as an enthusiast of both macro and micro journeys. In light of these discoveries, relinquishing the hierarchical category of being human, in contrast to the achievements of sciences in the service of anthropocentrism and endless exploitation, Dr. Lollipop conceived their own body as an other-than-human laboratory. In a rebellious act, blending artistic alchemical knowledge, biomedical expertise, computational science, other beings' knowledge, and appropriating the technological devices usually used to constrain our existences, they synthesized a laboratory within their own organism, a biotechnological alien conglomerate of many creatures. Dr. Lollipop created a new sensory organ, nourished by their own heart and synthesized from their muscle fibers and the DNA of a rare carnivorous plant from polluted urban centers, whose flower adapted to resemble a hologram and attract humans from whom it feeds. They named the laboratory/organ SEED HEART.

Through makeshift machinery they invented, with prostheses attached to their body, Dr. Lollipop could holographically enter their laboratory organ, visualize and construct it within themselves, configuring it contrary to the modelings of our bodies in our system, and thus continue the manufacturing of their chimeric creations of reality.

Chimeric spheres within chimeric spheres.

One of their great endeavors is to narrate such a body transformation, not as an artifact or commodity — a condition to which Earth was subjected, reconfigured into a singular technological mesh oriented toward self-destruction — but as an open-source more-than-human intelligence, capable of metamorphosing and propagating like a virus; spreading like a virus; capable of proliferating regardless of the catastrophes orchestrated against our ecosystem, capable of infiltrating destruction to then devour its maintainers.

Text By Rodrigus Pinheiro (@rodriguss)

Landpage of S.E.E.D. ZORA Collective Drop V1.0

Directed/3D by GABRIEL KÖI & Tiillma,3 (@gabriel_koi | @lucas414141_9) #701555
Soundtrack by Rodrigus Pinheiro (@rodriguss)

1080x1080 | 25secs | Blender + MJ + PS + AE + PR + Garage Band

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