Gottes Namen (Karlsruhe, 2018)

For three years now, terrorist attacks in the Wikipedia chronicles have been a separate sub-category, a sub-item of 1.1. Politics and world events. For two years there has even been an additional category 1.1.2 further attacks. Reality has long since overtaken the pictogram Hades that is Garden of Error and Decay. That kind of breaking news has been neatly filed by the world population under everyday life. Even Donald Trump's Twitter derailments rarely surprise the world public anymore and only occasionally cause digital collective head shaking. It is only in the Corona crisis that Trump’s social and political misplacement becomes really noticeable in the media again. The Names, the Data Dybbuk software, but fed with a historically impossible and courageous text remix, is here again placed in the entrance area of ​​the exhibition Dia-Logos - Ramon Llull and the ars combinatoria, but is located on the 1st floor of the atrium of the ZKM with far more space to evolve and exert than ever before. The names of God in Arabic, Latin and Hebrew language meander silently into and through each other in space: approach each other, touch each other and move away again in a projected dance of objectivity. It is remarkable how historically incompatible ideologies, that nevertheless have like foundations, can exist side by side here; and how visitors of every faith can stroll past them without feeling the immense potential for turmoil, agitation, war, ruin and suffering that has been brought into the world whenever these ideologies came that close to each other in history. The connection between cultures is only frictionless in technology - sometimes.

Computer, projector, software: a specially programmed custom made Java-based text editor of just over 0.4 MB generates language waves in an infinite loop, whereby the angles of the movements, the vectors of the movements, their speeds and many other settings can be programmed steplessly in the decimal range. The text that appears is also entered in the editor.

Paul Kenig