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Profile: fantastic little splash explores cyber-warfare

7 may, 2024

A gray line of smoke cuts through the sky — the second, hostile horizon. The real horizon is not visible; it cannot be shown for security reasons. In the news, there are only pixelated outlines of buildings and trees. If you have lived in Ukraine since 2022, you are familiar with this feeling when you look at another photo of the attacked neighborhood and think, "What if this missile fell on my district, on my house, or right on me? What if it tore through my sky?.." Would it remain just as indifferent, or would it split open and strike like lightning whoever pressed the button? "...fucking Russians, I hate them."

"Focusing on these types of images is an attempt to decompress emotions instrumentalized by cyberwar sensorium. This instrumentalization is caused by the continuing emotional labor of Ukrainians to maintain their/our own collectivity...," explains fantastic little splash in the description of their latest work "see also." Artists Oleksandr Hants and Lera Malchenko began working on it in 2022 in Uzhhorod. At the beginning of the full-scale invasion, it was too alarming in Dnipro, where the art duo was founded. The fear of being occupied deprived Lera of sleep and forced artists to move. In such a situation, emotional decompression is the only thing that helps to endure the trauma of war. Then, and now, again and again.

Oleksandr Hants and Lera Malchenko, fantastic little splash. Source: instagram.com
In 2014, when Russia began its hybrid aggression against Ukraine, the duo felt a similar confusion. The Kremlin propaganda machine was already working in full force. The so-called "Gerasimov doctrine" had already been published, in which the Chief of the General Staff of the Russian Armed Forces laid out the imperialist principles of Russian foreign policy. Essentially, it was an excuse for the invasion of Crimea and Donbas, which occurred within months of the text being made public. In addition to legitimizing military actions to achieve its political goals, it also discussed non-military methods of colonization, including informational campaigns to manipulate the population.

At that time, Malchenko worked as a reporter at Hromadske TV in Dnipro. Gradually, she began to realize the role that mass media played in our war. "Then it became increasingly clear that this was indeed an information war. I felt a certain personal responsibility for it and thought a lot about the impact of these media, about the consequences of all these techniques of emotional capture. Because when you travel to the then ATO (Anti-Terrorist Operation — ed.) zone, then gray areas, and see the real consequences of Russian propaganda campaigns, you naturally begin to react completely differently," the artist shares.
fantastic little splash, "New Information," 2017. Screenshots from the video. Source: fantasticlittlesplash.com
fantastic little splash, "New Information," 2017. Screenshots from the video. Source: fantasticlittlesplash.com
fantastic little splash, "New Information," 2017. Screenshots from the video. Source: fantasticlittlesplash.com
This political dimension manifested itself in the works of fantastic little splash not immediately but was always the background of their creativity. The duo's early works, such as "New Information" and "Transtranslation," were a search for new forms. Before founding the art formation in 2016, Malchenko worked in various media, and Hants made commercial videos. Both wanted to break out of the "internal emigration" into which the journalist and director were trapped by the established formats of text and video production. Both wanted to speak more personally, with a unique right to know and to make mistakes.

"We were not professional artists, we had no arrangement, only artistic ambitions, and I think that, in principle, the history of fantastic little splash from the very beginning and with each new project is always about inventing formats," says Malchenko.

The duo consistently develops a rather broad theme — the subjective experiences of a person in virtual spaces and the influence of various mediums (media, social networks, video games, online platforms, VR chats, etc.) on the perception of the world. For example, in the multimedia installation "хоах," the artists rely on the idea of "liquid modernity" by sociologist Zygmunt Bauman. This is a condition of (postmodern) society where there are no clear moral guidelines. Not least, or perhaps primarily, it is caused by the development of technologies that lead to the extremely rapid spread of diverse content — the global infosphere, with all its horrors and pleasures, becomes the constant background of everyday life.

A key feature of such a state is the blurring of the boundaries of ethical judgment. Or, as fantastic little splash says, the simultaneous existence of myriad alternative realities, which precludes confidence in any one of them. If this reminds you of the ominous Kremlin phrase "Not everything is so obvious," you are right. The Russian state has learned to weaponize almost everything, including the effects of "liquid modernity" - our doubts, fears, and disappointments. And it works. "The interpenetration of real and virtual in the Ukrainian dimension is militaristic. Informational invasion has led to real military occupation. ‘Television protests’, fake news, and subversive emotional content provided a 2000 percent increase to the term ‘post-truth’ in 2016 compared with 2015," says the description of "хоах."
fantastic little splash, "хоах," exhibition view, 2018. Source: fantasticlittlesplash.com
More about emotional manipulation and, more broadly, the sensory dimension of war reporting, fantastic little splash talk in the "see also" project that was part of the "Even if" exhibition at the 2023 Construction Festival. The work explores the media less abstractly and theoretically, with a more personal focus on everyday life — on experiencing the reality of war through social networks and news.

The interactive installation is made up of four virtual spaces that contain various digital artifacts, such as compressed, blurry photos of shelling, screenshots from news telegram channels framed by a stream of angry, sad, and surprised emoji reactions, quotes from texts about digital reality, and lines from the Spanish poet Federico García Lorca "My heart — is it your heart? And who reflects my thoughts? Who lends me this passion without roots? Why does my suite of colors keep changing? I see myself through the sunsets, and an anthill of people marches through my heart."

"For me, being super-subjective in this work became possible because I realized that it is this hyper-intimate dimension that Russia weaponizes, using bot farms and all the long-’rolled out’ tactics. And that only by talking about this subjective feature, you can understand where the real you is, where others are, where some effects affect you," says Malchenko. In "see also," she uses her voice for the first time to share personal reflections on the events of the past two years.
fantastic little splash, "see also," video screenshots, 2023. Source: fantasticlittlesplash.com
fantastic little splash, "see also," video screenshots, 2023. Source: fantasticlittlesplash.com
fantastic little splash, "see also," video screenshots, 2023. Source: fantasticlittlesplash.com
fantastic little splash, "see also," video screenshots, 2023. Source: fantasticlittlesplash.com
fantastic little splash, "see also," video screenshots, 2023. Source: fantasticlittlesplash.com
fantastic little splash, "see also," video screenshots, 2023. Source: fantasticlittlesplash.com
fantastic little splash, "see also," video screenshots, 2023. Source: fantasticlittlesplash.com
fantastic little splash, "see also," video screenshots, 2023. Source: fantasticlittlesplash.com
fantastic little splash, "see also," video screenshots, 2023. Source: fantasticlittlesplash.com
fantastic little splash, "see also," video screenshots, 2023. Source: fantasticlittlesplash.com
The weaponization of other people's emotions (basically human vulnerability) is insidious because a person cannot separate themselves from their feelings and reactions. They are an integral part of the collective experience of shared traumas, a kind of demarcation of one's own from that of others that war requires. How, then, can one separate one's own feelings from the automatic reactions triggered by informational "injections"?

Oleksandr Hants suggests that therapy could be one of the tools for de-automatization, a kind of digital mindfulness culture. "It doesn't guarantee anything, but it can give at least a little hope that these sensory experiences can be broken down into some categories: what, where, and why it happened to you. It’s about recognizing your emotions, which prevents others from weaponizing them. But I'm not sure it will work," says the artist. There is no simple answer, he believes because the therapy community itself is now seeking a new approach. Many therapists in Ukraine and around the world have experience working with soldiers or refugees with various traumas. But Russian manipulations, which we are now experiencing on social media, were not as widespread and did not have such amplitude until 2022. "New therapeutic solutions need to consider the media's impact. If we talk about polarization, these are real traps that can be bypassed. Like the techniques of 'emotional contagion' that the media enhance."

Hants suggests a two-step process: the first step is to develop one's congruence (authenticity). This term from person-centered therapy describes the degree of agreement between the real self and the ideal self. In striving for such congruence, we learn to understand, express, and experience our emotions, which also helps us distinguish between our emotions and those of others. The second is knowledge of how modern media work, preferably on a personal level. This can be problematic, however, because studying these processes is complicated by a lack of data. The first scandalous Facebook studies on "emotional contagion" led to a wave of public condemnation of unethical behavior. Now, companies regularly publish some studies, but access to the information is still very limited because it is owned by the companies."This is what turns digital platforms into a kind of natural element, an unstudied 'black box' — we just don't know how to react to it. On the other hand, we don't know ourselves fully," says Malchenko.

If self-awareness is everyone's business, then debunking propaganda campaigns is beneficial for all. Malchenko mentions various solutions that can help with this. In particular, from the Ukrainian market. "These are initiatives that deal with so-called misinformation investigations. A wide spectrum: from professional journalists and OSINT researchers to startups developing this purely as a technological solution. For example, to detect what Meta calls coordinated inauthentic behavior — manipulative communication tactics using fake and real accounts in social networks. If this is machine propaganda, then its tactics can only be revealed by machine methods — collecting and analyzing data in an automated way." Perhaps this way, we can finally answer Garcia Lorca's question — who gives us this passion, and where its roots do lead us.
 

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