by Nora Sdun
In computer games which deal mainly with holding and lifting of weapons two-armed beings have a weapon in each hand from which they can fire simultanouesly mostly in the same direction.
In TV and cinema films, which toy with a trait of reality weapon carriers have two arms but only one weapon which then is held by both hands.
I asked a policeman how it looks like in daily life with this TV - reality of a weapon carrying and helping friend and helper and was given the clear information that this both-handed procedure shown in films is fiction. Real policemen shoot with one hand, just like Lucky Luke.
How does such a convention of two-handedness in cultural production happen?
Probably a ritual transfer has happened from the religious cultural sphere in a non-the-less magical sphere of technical power. The magic that works is the same in both cases.
No priest would lift the most-sainted simply with one hand and present it to the congregation, even though it would be possible without a doubt. Power is shown best through illusion of weight, so one carries with both hands, so as if the consegrated wafer has a lot of weight, as much as the child that was carried across the river by Christopherus. Further it can certainly be said that religiousness is love for symmetry - so that everything is well in order, accoring to rule, measure, number and weight. When the policemen in films fold their hands symmetrically to fire they are on their way in liturgical mission. Also the animated fighters with weapons in both hands follow alltogether the symmetrical imaginations of benediction which is given with both extended arms. In history of gestures such game figures are absolutly nothing new.
Mathieu Turken has constructed here his model de_Synthese and - if one looks onto the screen - it appears like a computer game. Turken though does not let appear protagonists. One also does not see the top end of a barrel, hence cannot imagine oneself in the role of a weapon- bearing Avatar. But it is easily put together that a camera brings the pictures onto the screen and that this camera is installed on a vehicle or at least on a movable underground which is stearable from this seat. As it goes with the phantastical sphere of technical power here one also stears with two hands - right for the right driving chain, left for the left chain. So far as the basic order of this work is concerned.
There are chess playing automatons, learning machines and other betraying- and play- machines, there are especially machines steared by human beings. Such a machine mathieu Turken built, a machine which does not function when no-one plays. But which also does not function when too many people play with other machines nearby. When the radio is turned on one has for example first the survalence camera of nextdoor's bride's fashion shop on the screen, the camera on Turken's machine obviously cannot quite have its way with the ageold magical rituals of marriage. Besides the vehicle may simply start moving because of electromag- netical smog of a big city, when no-one is sitting in the stearing seat. These are dysfunctions which do not narrow the statement of this construction. (One should possibly once try right away if the vehicle can be steared also with ringing cellular phones.).
Interesting about de_Synthese is nor the game nor the stearing itself, because there is neither a goal nor as task in this maze but rather the idea of the power of driving. The pictures that are produced by stearing satisfy the driver up to the tip of his stearing hands and he truly feels as higher god-like ruler.
But only as long as one has the eyes nicely on the screen the vehicle does not run aground and no-one outside changes his/her hearing aids or develops similiar radio scenarios. To look into the boxes here, where the pictures are produced, is disillusionating like to look behind the scenery.