Alexander Jermilov

SELO is an autonomous simulation where NPCs navigate a dynamic world, shaped by their personality traits and external influences. Each character has unique political opinions, religious beliefs, ideological stances, emotional tendencies, and social behaviors. These traits evolve over time through both internal changes and external encounters, driving their actions and decisions.

SELO is an autonomous simulation where NPCs navigate a dynamic world, shaped by their personality traits and external influences. Each character has unique political opinions, religious beliefs, ideological stances, emotional tendencies, and social behaviors. These traits evolve over time through both internal changes and external encounters, driving their actions and decisions.

SELO is an autonomous simulation where NPCs navigate a dynamic world, shaped by their personality traits and external influences. Each character has unique political opinions, religious beliefs, ideological stances, emotional tendencies, and social behaviors. These traits evolve over time through both internal changes and external encounters, driving their actions and decisions.

SELO is an autonomous simulation where NPCs navigate a dynamic world, shaped by their personality traits and external influences. Each character has unique political opinions, religious beliefs, ideological stances, emotional tendencies, and social behaviors. These traits evolve over time through both internal changes and external encounters, driving their actions and decisions.

The project draws inspiration from Byung-Chul Han’s comparison of contemporary society to the medieval period, where magic and superstition prevailed over reason and scientific inquiry. Han argues that we are experiencing a return to these "magical" times, where anxiety, confusion, and disorientation drive people to adopt simplistic and often irrational beliefs. As in the medieval era, today's proliferation of contradictory information and the erosion of shared reality give rise to a "post-truth" environment, where feelings take precedence over facts, and social bonds are increasingly defined by faith rather than reason.

The project draws inspiration from Byung-Chul Han’s comparison of contemporary society to the medieval period, where magic and superstition prevailed over reason and scientific inquiry. Han argues that we are experiencing a return to these "magical" times, where anxiety, confusion, and disorientation drive people to adopt simplistic and often irrational beliefs. As in the medieval era, today's proliferation of contradictory information and the erosion of shared reality give rise to a "post-truth" environment, where feelings take precedence over facts, and social bonds are increasingly defined by faith rather than reason.

The mountains hear their haunting tume, As the geblens play beneath the moon, And in the silence of the night, their synths whispers tales of fright. So if you ever trek the Alps so high, And hear a sound that makes you sigh, Be not afraid, it’s just the geblen’s song, A musical mystery, that will linger on.

The term, "disruptainment dread" could be interpreted as a phrase that suggests a mixture of anticipation and anxiety associated with the disruptive elements found within certain forms of entertainment or media content. However, it's important to note that this interpretation is speculative and context-specific, as the phrase itself does not have a universally recognized or defined meaning. , The artwork I have created is a video game that subverts the traditional exhibition space of Kunstpodium T into a techno-anarchist base. The game's central concept is centered around the archetype of the "disruptor," a character frequently found in the gaming world. Through the course of the game, players engage in a narrative that unfolds through conversations between the main character and an artificial intelligence connected to the base.

The term, "disruptainment dread" could be interpreted as a phrase that suggests a mixture of anticipation and anxiety associated with the disruptive elements found within certain forms of entertainment or media content. However, it's important to note that this interpretation is speculative and context-specific, as the phrase itself does not have a universally recognized or defined meaning. , The artwork I have created is a video game that subverts the traditional exhibition space of Kunstpodium T into a techno-anarchist base. The game's central concept is centered around the archetype of the "disruptor," a character frequently found in the gaming world. Through the course of the game, players engage in a narrative that unfolds through conversations between the main character and an artificial intelligence connected to the base.

The term, "disruptainment dread" could be interpreted as a phrase that suggests a mixture of anticipation and anxiety associated with the disruptive elements found within certain forms of entertainment or media content. However, it's important to note that this interpretation is speculative and context-specific, as the phrase itself does not have a universally recognized or defined meaning. , The artwork I have created is a video game that subverts the traditional exhibition space of Kunstpodium T into a techno-anarchist base. The game's central concept is centered around the archetype of the "disruptor," a character frequently found in the gaming world. Through the course of the game, players engage in a narrative that unfolds through conversations between the main character and an artificial intelligence connected to the base.

“A/B is a sculptural artwork that delves into the unsettling rise of hate-associated instagram accounts. It features a melancholic portrait of a young boy. It is a collective portrait of those inhabiting often times anonymously the IG realm. Presented with Pepe the Frog, a symbol co-opted by the alt-right. Hidden weapons within the piece underscore the danger of such ideologies. This subtle work serves as a reminder to remain vigilant against the proliferation of hatred in our society.”

MDF, Laser cut Plexiglass, Engraved Metal, Hardwood, Leash, Chain.


Ikea Shelf, Hardwood, Bear Claw, Cast Plaster, Aluminium, Plexiglass

Are our own thoughts parasites? Through my research I found out that I am interested in blurring the line between the parasite and the host in favour of introducing a non hierarchical evaluation system. I am approaching this from an ecological point of view, thus supporting the decentralised idea behind such network. That is initially inspired by the concept of the rhizome. By bringing examples of parasite from the biological world, I presented their relationship with the host as something more Symbiotic opposed to being exploitative. By using a biological examples I wanted to amplify the potential of the indifferent approach, when analysing data. I am exited to continue researching this topic in the future.

Are our own thoughts parasites? Through my research I found out that I am interested in blurring the line between the parasite and the host in favour of introducing a non hierarchical evaluation system. I am approaching this from an ecological point of view, thus supporting the decentralised idea behind such network. That is initially inspired by the concept of the rhizome. By bringing examples of parasite from the biological world, I presented their relationship with the host as something more Symbiotic opposed to being exploitative. By using a biological examples I wanted to amplify the potential of the indifferent approach, when analysing data. I am exited to continue researching this topic in the future.

In my graduation work I will like to create an installation that is based based on the concept of Rhizome a term used by Deleuze and Guattari.Rhizome resists on the organisational structure of the modernist system, which believes in causality along chronological trajectories. It neither looks for the original source nor for the conclusion of phenomenas. The terms "rhizome" and "rhizomatic" define theory and research that allows for various, non-hierarchical entry and exit established connections between the links in the network. It looks at history and culture from a non narrative point of view. The way I understand this concept is through its idea to present history as a map, system, influence or events without a special origin, as it strives to be in the middle of these things. I focus on constructing a system with living organisms, replicas of the historical artefacts, art historical references and elements from different internet cultures to present a complicated system and to experience their unexpected connections. I don’t aim to create one focal point but multiple ones creating a decentralised ecosystem. The logic behind the installation inspires from British evolutionary biologist - Richard Dawkins and his meme theory. In his writings, memes function as units of cultural distribution. This theory suggests that ideas, behaviours, or skills are transferred between people through the process of imitation. Each element in the installation system is created and in its creation emphasises on the ideas of memetics. I would like to refer to this practice as “Hyper assemblage“ as it is based on the expanded notion of the assemblage. Therefore, the form of a network comes inevitably from the method of production. I consider this approach as being a modern day hunter-gatherer with an attitude of the hyper connected consumer. In the production of the work I investigate how meme theory works to evolve modern culture, and present a system where unknowability is hardwired into the world. Well, I see the objects as constantly evolving and getting new, multiple meanings while in collision with others.

It is an alternative and selfcontained altar. It has the light the liquid, the storage and sculpture. Its an a starting point to explore other the other sculpture within this installation.