CRITICS

Title: Sendai Corporation
Author: Massimo Sgroi
Year: 2014

The analytical paradigm of the human mind is no longer able to distinguish the difference between the old cultural models and new ways of reality that assume a hyper technological drift in the creation of the new territories of the mind-space. The system of infospheres produces an actual mutation of cognitive thinking delegating to “other” identities the creation of new structures of social organization; the result is that every day we are more and more foreign to ourselves. The planetary system of innervation leads, then, to the dissolution of the social mind replacing it with abstract entities, products of our own paranoia. And possible worlds are dark, dark places, where the fires of the ogre burn.
The world imagined by Marco Bolognesi is exactly that; born of a sick cyberpunk pushed to the limits of physical endurance and mental health in a Bomar Universe that is as real as reality itself precisely because it is imagined and, therefore, shared, through the infosphere.
The story of his world, then, is nothing more than an Absolute Digitized Conscience which is manifested in the creation of hyper intelligent and essentially evil hybrids. An authoritarian techno barbarian that produces horror and suffering on both planes of existence: the visible and the invisible. In fact, the Bomar Universe is the extreme cyberpunk version of ​​Heidegger’s idea that: “what characterises the modern world is the modern world picture”.
This social evolution creates a cognitive and sensory drift and the Sendai Corporation, the body that dominates the Bomar Universe is a perverse summation of obscure brain-frames. The result is a baroque excess of bodies mutated and contaminated by chrome-plated metal and, simultaneously, a vertigo of displacement, of an excess of information that exceeds the capacity of decoding by the brain of a single individual; be it cyborg or a lesser being. The entity/corporation extends almost as connective urban tissue and Sendai City is no longer a direct experience of the individual senses.
The need by the corporation to make human behaviour predictable is modelled on the extreme semiotic lines that go beyond the needs of finance, industrial capitalism and the necessity of war; the warrior women are daughters of an excess of repressed feeling that can be summed up in a baroque and postmodern form. It is the forced aestheticization of humans, the extent of contamination for the creation of the dark dream: that of the individual perfectly functional to the dominant social body. The techno-fascism of the Sendai Corporation has an origin of aestheticism and forced hybridization based as it is on the creation of human biodiversity that becomes a simulacra of erotic games and war; rather than harmony between the innerspace and the temptations of the outside world, the concept of beauty is a asymmetric value in its being bound and absolutely forced. It is the translation in bodily form of a desire for power and absolute control where Eros and Thanatos are absolutely indistinguishable from one another. But the Sendai Corporation of Marco Bolognesi is something more than a simple concentration of crazy Zaibatsu; it is a concentration, in a single immanent body, of absolute conformity and total exclusion. There is no place for human compassion; either it is absolutely subservient to the established model or completely outside of the social body. The corporation is not only the dominant entity it is the world itself. It is the unique city modelled on the concept of man-machine hybridization in a complete manner that excludes everything that is outside of the mutagenic conception of existence; it invests, in an all-encompassing manner, the body and the mind producing aesthetic models of existence. And the molecules of the peripheral Sendai, are cyborg warrior women in which, through the numbing pain, there is no more “human compassion“. The Sendai Corporation is an extreme version of the immanent Tyrell in Blade Runner, it is the technological aggregation of the concept of the world where power itself ends up being an indefinite and elusive alterity.
It is a hyper bureaucratic dragon that moves in and out of cyberspace, it is a organism designed by a crazy technopunk deity.
The aesthetic concept of the Sendai Corporation demonstrates the visionary capacity of Marco Bolognesi; a rigid, centralized structure, that yet goes far beyond the intentions of the Great Brain or the Council of Wise Men who work with it. It is the formless amoeba that enters into all the cracks of the world-city, an extreme version of certain models of development, such as the finance of the contemporary world that, goes beyond the very intentions of its creators; it is the world that replicates itself, it is the biomechanical-electronic body that pervades all the crevices of existence. The immanence of science for its own sake. After all, in addition to references from literature, cinema, and the philosophical concept of cyberpunk, Marco Bolognesi conceives the Sendai Corporation, starting from some so-called conspiracy theories, which ultimately re-tell contemporary history in the light of an underground project that decides the destiny of our planet; a theory that predicts a plan of action for the planet in an obsessive and penetrating manner. In this world made ​​from predominant images and the hyper corporeal perception to distinguish the real from that which is more than real the perceptual disorder of existence becomes practically impossible, it is in fact geometrically acquired by the social order of the Sendai Corporation, and in this form of altered perception the viewer ends up confusing the perceptual accumulation of Bomar with real life. The work of Marco Bolognesi functions in this sense, it is a schizophrenic possibility of inhabiting the city or it is, in the words of Philip Dick’s novel Flow my tears the policeman said, something already experienced that returns through art? The very construction of the Sendai Corporation has strong similarities to this novel by the great American writer; First, the authoritarian drift of society; in the book by Dick it all starts with the violent repression of black Americans, and Richard Nixon is considered “the second only begotten son of God”. And, then, the construction of a completely alternate universe, a world that, and anything to do with it, is conceived as a work in progress constantly changing with the goal of replacing it with what we call (or is it just a solipsistic schizophrenia?) our own. But Richard Nixon was also the last bastion of power of the big American multinationals, the Zaibatsu, to use the term dear to cyberpunk literature and the Sendai Corporation is nothing more than the latest mutation of the moloch of economics and finance. It does, however, unlike the iconoclastic vision of Dick live its own existence through the immanent substantiation of the Rite. Through this ritual the Zaibatsu becomes the maker of the artefact and consequently, designs the world becoming, in essence, what the philosopher of the seventeenth century Jakob Bohme called Urgrund. It is to use a term from Philip Dick a “Projector of reality“, a sort of evil Platonic demiurge where the obligation of a form of existence (that, in fact the cult of the hybridization of flesh and metal) turns up to become (or try to be) a perfect copy of the Big Brain/Urgrund. The reality is, then Maya, the illusion as the world imagined, desired and decided by the Sendai Corporation, through the rituals of the geisha/warrior ends up being the only form that lies beyond the veil of illusion and nothing should be possible beyond the predefined model.
Marco Bolognesi builds, through the Sendai Corporation, a world of entertainment, sex and death, exactly the iconology that is, in its essence, the concept of the cyborg; a techno freak that manifests itself through the ultra-human quality of the body. It is a pure show of the nth power of the Fake image where fascination turns into horror and horror into the extreme form of seduction, as claimed by Jean Baudrillard. It is the ritual of the feminine superhuman that creates the idea of the sacred as a show. From a certain point of view, the conception of the creation of the hybrid is reminiscent of watching David Cronenberg’s Videodrome where the organic fusion between the body and metal is absolutely disruptive and invasive. Nothing is more true to itself; the struggle between the mutants and the dissident female warriors of the Babylon Federation, designed by the pyramidal system which is, in fact, the Sendai Corporation becomes a clash not between normality and diversity but, in fact, between two diversities and, in this, the reality disappears permanently under the accumulation of crazy deviant mad-scientist biotechnological research. What remains, after all, to us humans, in addressing the darks fires of the ogre is the awareness that it is necessary to escape from a similar perverse fate otherwise all that will remain will be our nerves, stripped to the bone by pain.

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