Chronicles of the New Human Organism
An uncanny and unsettling hybrid of future consciousness and mutant flesh, and therefore true to the real transformation of our times.
— Erik Davis, TechGnosis
Imagine putting a video camera into the hands of a Death Valley outsider artist convinced that the mothership is about to land at any minute, and that when it does a new phase of human evolution will begin. Chronicles of the New Human Organism is such a film.
Taking the form of the nature documentary exploring the strangeness of the world around us as a starting point, Chronicles of the New Human Organism takes the viewer on a journey through a range of ideas, knowledge systems and questions relating to the origins of the human species, the significance of the reptilian mind, new forms of human sexuality, parasites, communication with the dead and alien evolutionary technology.
The work references and cannibalises ideas derived from Al Fry, JG Ballard, Rudolf Steiner, Wilhelm Reich, The Heaven's Gate cult, Carl Sagan and Oscar Kiss Maerth. Delivered with a portentous, yet strangely soothing voiceover, Chronicles of the New Human Organism re-interprets the history of visionary thinking about the human species through the po-faced filter of Erich Von Daniken's 1968 bestseller Chariots of the Gods and the shockumentary style of Mondo Cane 1962.
One of the aims of Chronicles of the New Human Organism has been to make a work that defies categorisation, or is another way of looking at the categorisation of the human. It is a perverse and compelling hybrid of educational video, new age recruitment campaign and cult manifesto: the Mondo movie genre with a good dose of pseudo science.
The sound and music for the video was composed by PH2 (Philip Brophy and Philip Samartzis). Like the visuals, it draws on a range of references in its production from Jerry Goldsmith sci-fi scores such as Logan's Run to pulsating electronic noise from Forbidden Planet, along with textural field recordings of some of the weirdest places on the planet.
This project has been assisted by the Australian Government through the Australia Council, its arts funding and advisory body.