We are thrilled to introduce the "Manifesto Terricola", an artistic and scientific project developed by Soliman Lopez in collaboration with Polo De Vinci, MIT Media Lab, ESAT, Viven Roussel, Maggie Coblentz, Javier Forment, and Lena Von Goedeke. The project explores the current state of humanity and our future, with a particular focus on the environmental changes happening on the planet. The manifesto is stored in DNA and preserved in a biodegradable ear-shaped sculpture on Svalbard Island in the Arctic. It defends a positivist view towards the use of biotechnology as new materials of human expression and working in harmony with nature. The message of the Manifesto Terricola is integrated into this time capsule, frozen and icy at the Arctic pole, as a kind of farewell to the Earth we once knew, to say that we have changed it and ourselves. The project draws inspiration from art history, using the format of a manifesto, and refers to Vincent Van Gogh's ear. Solimán López, a well-known figure in the contemporary art world, developed the project using his expertise in new technologies, new media art, blockchain, and biotechnology.

Written by Soliman Lopez

1< INTRODUCTION

The main objective of this document is to explain the details related to the project "Manifesto Terricola" by artist and researcher Solimán López in collaboration with Polo De Vinci, MIT Media Lab and ESAT (Escuela Superior de Arte y Tecnnología). The project is developed under the supervision of researcher and expert of biomateriality, Viven Roussel with the support of researcher and artist Maggie Coblentz and the collaboration of bioinformatician Javier Forment and artist Lena Von Goedeke.

In the context of the residencies proposed by both institutions in collaboration and with the island of Svalbard as a field of work, the artist is selected to develop an artistic project relevant to the local, global, artistic and human context, which questions the current reality of humanity and our future, as well as introducing research opportunities within the framework of the analysis of the Arctic as a testimony of the environmental change present on planet Earth. That is why after several meetings and deliberations, taking into account the subject matter, the technological challenge and the proposed innovation, the working team has chosen the "Manifesto Terricola" project as the appropriate one based on the following details that are explained below in this document.

2< WHAT´S THE MANIFESTO TERRICOLA?

It is an artistic document that presents a state of the current situation of humanity in different areas such as economics, ethics and morality, psychology, geopolitics, the environment, art and the connection in between humans and the Earth.

But the document also contemplates a particular materiality, being stored in DNA and encapsulated in biodegradable bio printed material with the shape of an ear, produced to preserved on Svalbard Island in the Arctic.

Formally, it follows two historical approaches to the meaning of an artistic manifesto, being at the same time a work and text of intentions and a scientific tool. These intentions lie in an intrinsic analysis of materiality, the intangible, the anthropocene, science, digital storage and art itself.

The manifesto is separated into 5 conceptual blocks:

Block I: ENVIRONMENTAL TRANSITION.

Block II: SCIENCE AND BELIEFS Block

III: ECONOMICS Block

IV: TRANSHUMANISM / AUGMENTED HUMANS

Block V: CONSCIOUSNESS / ART

Each of these content blocks is stored in its own DNA sequence and inserted all together in a bio print that saves and encapsulates the digital content.

The Manifesto claims pure conceptual production and the new materialities of the digital and intangible as a form of expression and a sublime relationship with nature in order to extend the understanding of the very essence of human technology and bioentities.

The Manifesto Terricola also defends a positivist stance towards the advances of biotechnology as new materials of human expression and conciliation with nature and the biological. The text proclaims the integration and acceptance of technology as a new engine of consciousness for the future of humanity, thought and art and positions our generation in context with a future one and vice versa. The overall message of the Manifesto Terricola is at the same time integrated into a natural time capsule, frozen and icy at the Arctic pole, as a kind of farewell to the once Earth to say, yes, we have changed you and at the same time we have changed ourselves.

The manifesto also calls for a conceptual engagement with the crucial debate of the moment, arguing that all current artwork must have an intrinsic critical eye on these issues in order to balance with the current moment.

The Manifesto takes the form of a sculpture in the shape of a bioprinted human ear containing the DNA-encoded information of the manifesto itself.

3< THE ARTISTIC WORK, ITS REPRESENTATION

The work consists of two parts. The content of the manifesto, its audio and image. The materiality that houses it, represented by a human ear printed three-dimensionally with what is called bioprinting.

This object has a strong representation in the history of art, having clear references. On the one hand, the tragic duel of the painter Vincent Van Gogh with his ear to "make himself heard", passing through the also famous one implanted in the forearm of the artist Stelarc to make an implant listen and at the same time speak, or the project of the also bio artist Joe Davis with the introduction in the DNA of a mouse ear of the image of the milky way.

These precedents serve as a solid base to create a new evolution of this ear concept that has listened to the history of art and that now proposes other materiality and adds concepts.

On the one hand it is an ear that represents in itself transhumanism by its own materiality and the possibility of imprinting itself with a bio material. On the other hand, this object/organ/listening interface holds frequencies information within itself and at the same time, like Stelarc's ear, listens and speaks and represents a global message like Joe Davis'. Of course, it also represents the tragedy of our humanity as destroyers of our own environment.

Within the project there is an important communication dimension linked to its distribution and dissemination. That is why certain actions and exhibitions are foreseen that will have as their main object a replica of the ice cane that incorporates the manifesto inside it.

The creation of large-format video projections and immersive installations are also foreseen.

4< MAIN PRECEPTS FOR THE MANIFESTO TERRICOLA

¿- Why Terricola?

From the Latin terricola ("inhabitant of the earth or soil"). If we look at the etymology of the word, the prefix terri- is self-explanatory, earth coming from terra, but it is interesting to look at the suffix -cola, which comes from -cul referring to cultivation. On the other hand, the root -col/cul is related to the Indo- European root kwel which means to stir or to move and which we find for example in a word of Greek origin such as kyklos which means wheel. And it is even more interesting to say that the verb colere in Latin means to cultivate and to inhabit, which also has a connotation to the concept of sedentary, a term that we have already mentioned in relation to the first civilisations that manipulated cereals to make a viable economy in their environment and that is now called into question with the manifesto insofar as our land is no longer a land suitable for this cultivation or for this habitability, turning us into extra-terrestrial beings.

Why the Arctic and Svalbard?

The technical and conceptual characteristics to carry out the project are ideal in Svalbard. On the one hand, it is a sensitive place in the use of art as a model of communication and commitment to the preservation of the Arctic as a key place in the global balance. On the other hand, the scientific research intrinsic to the project finds in this latitude of the world, a perfect place to work in low temperature conditions, in an isolated place and with easy access for proper installation and monitoring. Finally, Svalbard has great symbolic power as a place weakened and victim of the repercussions of human activity and the accelerating impact of climate change, being a global icon of iconic significance for a committed and frontal message such as the one proposed here.

Who is the manifesto addressed to?

The target audience of this manifesto is anyone who wants to approach it in any of its forms, but within the framework of the general concept and the intellectual proposal it implies, we can identify 4 fundamental population groups in terms of the relationship they have with technology and the evolution of our species:

1º Humans who have assumed the change derived from the anthropocene and who, due to laziness, selfishness, ignorance, comfort and many other factors subjugated to the former, openly contribute to the uncontrolled entropy that generates the plausible imbalance we are experiencing.

2º Humans who intend with an outstanding use of technology to revert the changes to return the Earth to its ideal state of habitability, with advanced designs, sustainability as a fundamental word and cooperation.

3º Humans who with an outstanding use of technology, like the first ones, are contributors to the growth of the anthropocene, but who have in their roadmap the exploration of other places in space that leave behind the Earth as habitat in a sort of space colonisation based on the exponential growth of our technology, consciousness, energy and species.

4º Humans isolated from the debate with basic primary needs derived from their level of consciousness, resources, geographic location and politics causing a lack of capacity to position themselves on the issue.

Motivations:

Every work of art, whatever its nature, requires an action, however symbolic it may be. A motivation. I define below some of the motivations for the creation of the Manifesto Terricola.

Eco anxiety: It has been mentioned before, but this manifesto captures the global eco-anxieties derived from a society in biological check.

Art: It is in itself a motivation, but an instrument and vehicle of communication. A means of visual, conceptual and graphic transmission. Symbol and information package, as well as a generator of community and debate.

Message:

It is said that the end is the message and in this case this issue is very evident. The proposed message is a message that is embedded in neutrality. The manifesto proposes a place of debate and a message towards a potential recipient of the future to make them understand the moment they are in when they receive it and to draw clear lines of understanding and experience around the main issue of the project: the "habitability of the earth and our suitability to it".

Permafrost: Leaving a message for generations to come has always been in the view of all our civilisations. From the most ancestral ones in their eagerness to build in stone and leave us hidden messages in every centimetre. This intention is also present in this project through the staging of the manifesto through a natural process provoked under the concept of Permafrost.

Research: To pose a scientific experiment that can re-signify the sustainable encounter of humanity's information in balance with nature or what we could call biodata storage.

5< SCIENTIFIC DIMENSION

Numerous scientific studies have already identified DNA as a suitable materiality as a bio-marker for the study of different characteristics related to melting ice, permafrost, movement, friction and the identification of life in glacial environments and in general in hydrological environments in which traces are particularly complicated to control. It is interesting to highlight the study published in Environmental Science & Technology where problems are solved with the use of PLA (Polylactic Acid), and encapsulants for DNA such as silica or clay gel among others, which in conjunction make these bio-markers a perfect material.

In our eagerness to keep the environment intact and not generate any alteration in the short or long term, we have chosen the same materiality for our artistic action, knowing that it is a material that is already being used in different ongoing studies in places such as Antarctica, Latin America and Asia.

Earlier we explained how the manifesto is an enunciative text and at the same time a work in itself. But it is also a scientific object that helps us to recognise the changes in the place in which it is embedded, identifying four fundamental lines of scientific contribution in the context of current research on the island.

- DNA as a guarantor of digital information: We are interested in studying the way in which the DNA that contains the information in the manifest, remains in extreme conditions of temperature, friction and radiation. We intend for the manifest to become a proof-of-life beacon that will be recovered in the coming years and provide us with hard evidence of the versatility of this digital information storage model that can help store part of our general culture.

We can demonstrate that the information integrated in the glacier through the manifest is durable and a future opportunity that revalues the ecosystem and connects it with new nanotechnologies.

- Biomaterial as a guarantor of environmental neutrality: We also want to demonstrate with this action how scientific and artistic production can be carried out with 0 environmental impact through the choice of suitable materials that arise from in-depth research in biotechnology material.

- Analysis of the suitability of storing digital information in a way that is harmless and sustainable for nature and sensitive ecosystems: Demonstration of new environmental applications for the linking and storage possibilities of the visual and digital culture of today's society. Stable natural media as an inert repository.

- DNA as a vibratory witness: Analysis of the vibrational changes in DNA resulting from climate change and environmental disturbances.

Our project is an exploration of data conservation and new materialities. We are interested in studying how the synthetic DNA, which contains a translated digital information in, can hold up under extreme conditions of temperature, friction and radiation. This takes the form of an Art-Science project lead by the Université Léonard de Vinci (represented by Association Léonard de Vinci) and the artist Soliman Lopez. The artist proposes to explore the question of the narratives of humanity at a time of climate crisis and dematerialisation of data with a DNA encapsulation in biodegradable biomaterial - biotechnology developed by the Tissue Labs and DNA method encoding with the bioinformatic Javier Forment form Universidad Politécnica de Valencia and the Genscript laboratory which it the artist is collaborating since 4 years. The Manifesto Terricola claims pure conceptual production and the new materialities of the digital and intangible as a form of expression and a sublime relationship with nature in order to extend the understanding of the essence of human technology and nature.

Humanity is faced with the question of how to preserve its heritage and what traces it will leave behind, whether or not it does so. An important part of human activity is recording and storing data for various purposes. These means are not entirely unrelated to the global rise in temperature. For thousands of years, permafrost and polar ice have been naturally accumulating data from environmental activities and life on the earth's surface. It is therefore possible to rationally consider the issue of storage and its environmental cost from a more ecological and sustainable perspective. If we are to continue producing this vast amount of information, it is urgent to find a better way to store and connect it directly to the natural environment, conceptually and molecularly.

Solimán López proposes with "Manifest Terricola" project, to use the concept of permafrost for biological storage (DNA storage) under the polar ice - in which sustainability, research into new materials, social responsibility towards humanity and the art to merge. Our project is related to research on DNA with nanomaterial and biomaterial degradability in regard to data conservation and bioprinting. DNA tracers are actually used in different research areas (hydrology, nanomaterial, DNA and chemicals tracer, etc.) for their properties : “specificity, environmental friendly, stable migration” and high differentiability. Then DNA is here a guarantor of digital information: we intend to realize a manifest. A digital content extracted from the manifest´s text, under the ADN form to become a proof-of-life beacon that will be recovered in the coming years and provide us with hard evidence of the versatility of this digital information storage model that can help to store part of our Human culture. We will use an artist's text that addresses the same question that the research does but from a sociological perspective including a visual icon to make the research more recognizable and self explanatory.

We also propose a new way and visual encoding through the metaphor of frequencies, integrating in the information stored, more possibilities of understanding for future generations. Using a universal language like the vibration and frequency waves approach us to a more wider community not only related with only one kind of language.

On the other hand, scientifically, the analysis of the vibrational changes in DNA resulting from climate change and environmental alterations will be pursued with the help of the research team from De Vinci Innovation Center and the rest of the team. In practical terms, we insert a biodegradable object developed in partnership with the biological lab in a hole dug from a drill core ice -as a marker of our time. It contains the DNA text (manifesto).

Biomaterial is a guarantor of environmental neutrality, and demonstrates with this action how scientific and artistic production can be carried out with 0 environmental impact. We base our research on expertise from our partners and in the scientific research on environmental DNA marker : “ DNA molecules are essential constituents of life, which have existed ubiquitously in food, air, water, and also in almost all life forms.Therefore, it is naturally nontoxic.In addition, the sequences of DNA tracers are all artificially designed and chemically produced, but not from the genome of any organisms; therefore they neither possess any hereditary properties nor carry any potential risk of introducing foreign genes to any hosts.”

With this project and the subsequent correlative analysis, we demonstrate that the information embedded in the glacier (through the manifesto) is sustainable and an opportunity for the future to revalue the ecosystem and connect it with new nanotechnologies. Demonstrating new environmental applications for the linking and storage possibilities of the visual and digital culture of today's society is a huge challenge. Natural media, as a place of inert storage, can change the perception of materiality and our relationship to the world. Perhaps this message can lead people to a particular relationship with data and matter, where data is not destructive but constitutive of the materiality of the world.

6< THE ACTION IN SVALBARD

Date: 15 - 26 April 2023.

Localisation: TBD.

Action description:

We propose the exploration through a drill ice in a higher area of a glaciar. We want to extract the column of ice and deposit our biomaterial in the base.

We propose a depth of around 100meters to place the biomaterial.

Once the biomaterial of around 10cm is deposited in the bottom, we will put back the ice column to its place.

With this action we ensure the prevalence of the biomaterial frozen and in a safe conceptual place. If the melting process sometime put out the sculpture, there in the surface, that will means we need to react more urgently and faster to stops the melting process. All the process will be recorded.

7< ENVIRONMENTAL CLARIFICATIONS

The DNA created in the laboratory for the purpose of storing and encoding digital information is a totally inert and isolated material that is encapsulated in a mineral such as silica, which is also present in nature. If at any time this micron-sized material were to come into direct contact with an aquatic environment, for example, it would be completely diluted and biodegraded without any additional effect on its environment.

On the other hand, for the "beacon" object, we propose several material alternatives, all of them equally effective due to their inert character, present in nature and their total biodegradation.

As summary:

DNA with no possible expression.
Easily degradable and absorbable biomaterial without any trace.
Inert material doubly protected by an inert material.
Materials that are visually discreet and in total harmony with their environment.
Absolute respect for local communities.

8< DESCRIPTION OF MATERIALS USED

Below we describe the material used for the sculpture/manifesto:

4ug (micro grams of ribonucleic acid) x 5 Biomaterial for 3D printing.

In general in bioprinting the most common materials are:

Biodegradable polymers, such as collagen, alginate, poly(urethane ester) and poly(lactic-co-glycolic acid) (PLGA).
Gels, such as agarose gel, gelatine, polymeric hydrogels and alginate gels.
Nanoparticles, such as gold, silver and copper nanoparticles.
Ceramic materials, such as hydroxyapatite, bioglass and zirconium oxide.
Metallic materials, such as titanium, stainless steel and gold.
Extracellular matrices, such as matrigel matrices and chondroitin sulphate matrices.
Cells, such as stem cells, progenitor cells and differentiated cells.
Growth factors, such as nerve growth factors and bone growth factors.

As our material is supposed to be inert we will use ceramic materials and biodegradable polymers to obtain 0 trace.

Bio materiality:

The possibilities of storing DNA in materials available in nature is very broad, but for this occasion we have decided to work with the more stable ones in this sort history of DNA encapsulating to have no surprises.

All natural environments are sensitive, but this issue is even more visible in the context of an Arctic island. The ecosystem must be respected and the introduction of a non-"natural" material is not within the possibilities and logic of the project.

On the other hand, we have already mentioned the conceptual idea of associating the project with an evident aesthetic minimalism that could be associated with suprematism and Malevich's "White on White" in an exercise also of "0 polution" and respect for one's own environment. Furthermore, this visual exercise reinforces the idea of "Out of place Artifact (OOPART)“ and the surprise effect in this possible permafrost that seems possible in the future of the current situation. Also the size of the intervention is not much longer than 8cms.

The fact of using a bio print helps us to understand the project to a better extent, being an important part of the project. An object designed for listening, which at the same time contains in its materiality a sound message and which is incorporated in the deepest nature to listen.

It should also be noted in this section that biology is positioned as a perfect place to store the work and its content, identifying a sort of metalanguage with nature through the insertion it must have in nature itself. On the one hand, we include the content molecularly, but at the same time and symbolically, we bury it in its essence, in a glacier with a material that is gonna hear the Earth.

9< STEPS OF CREATION

We define below the steps necessary to carry out the work.

1º. Compilation of conceptual and intellectual material for the development and drafting of the Terricola Manifesto at document level.

2º. Tokenisation of the text in one or more Blockchain for its memory and digital registration as well as proof of existence and authenticity.

3º. Rematerialisation of the digital document. Transcription DNA using Python coding language.

4º. Sending the coding to the laboratory. In this case, the most feasible option is the GENSCRIPT laboratory with which the artist has already worked in the past.

5º. Creation in the laboratory of the DNA with the sequence sent.

6º. Sending of the genetic material to the Paris team for its final encapsulation.

7º. Encapsulation in biomaterial. Introduction of the DNA in the process of creating the bio print.

8º. Proof of its existence. Sending the sample to the laboratory of origin for analysis and verification. Presence test.

9º. Tokenisation of the final result.

10º. Journey to the Arctic for its introduction into the glacier.

11º. Identification of the precise location and extraction of ice block with similar techniques for iceberg stratigraphic analysis.

12º. Cut section at the critical length identified in a possible melt as "point of no return".

13º. Insertion of the "terricola disc" and compression between the ice blocks.

14º. Insertion of the ice block in its place of origin or "hollow".

10< STORAGE AND FREQUENCIES

DNA STORAGE:

It is the process of encoding and decoding binary information that is found or synthesised in DNA strands.

Under the concept of DoT, DNA of Things, similar to IOT, internet of things, we can incorporate these DNA strands in different materials that encapsulate the DNA inside or molecularly coexist with it. This is the case of what has been done in the artist's previous works, in the Harddiskmusuem encapsulating in silica the DNA that contains the metadata of the Museum or in the case of OLEA through a group of bacteria that express their DNA with the designed sequence of the synthesis of the Smart Contract of a token. In this case the .zip file transformed into binary code using Python code will be subsequently sequenced in DNA, and encapsulated in the biomaterial used for bioprinting.

——— The sequence: We intend to offer a new possibility and metaphor in the synthesis of information. To do so, we turn again to nature, choosing vibration and frequency as a matter of representation.

The Earth has what in physics is called a "magnetic transverse wave" which corresponds to the electromagnetic emissions produced by the Earth's motion and its events such as storms, and their "encapsulation" in the ionosphere, resulting in a vibration of 7.8Hz as discovered by Winfried Otto Schumann in the 1950s. This frequency and its measurement is also used by scientists as a great thermometer to analyse changes on our planet, such as global temperature and weather conditions.

Coincidentally, the vibrations analysed in the human brain are also based on 7.8Hz frequency. An eerie coincidence that somehow connects us with the Earth in an invisible but plausible way. Both frequencies are changing. Since the 1980's the Earth's frequency has risen to levels of 30Hz so we can say that we are in a vibrational imbalance that although not 100% scientifically proven, conceptually interesting to analyse. Is this further evidence of our extinction as earthlings? It is for this reason that the sequencing of our information will focus on this frequency metaphor, being at the same time a double file, an image with the spectrogram of the recording of a mechanical voice reading the text of the manifesto and the audio itself.

The document will eventually contain 5 files.

5 image fragments showing the sound sling (spectrogram) and the text associated with the sling and the frequencies of the phonemes.

Each DNA block (5) corresponds to the 5 content blocks included in the manifest.

Each element of DNA will be associated with one frequency in resonance with 7.8 to make the encoding vibrate in harmony with the Earth.

Anex < BACKGROUND AND CONTEXT

The artist Solimán López has an extensive career in contemporary art, new technologies, interactives, blockchain and biotechnology, and is a relevant figure in the international panorama of what is known in the sector as "new media".

Among his works closest to the concept of this project, we can highlight the Harddiskmuseum, which was founded in 2013 under the concept of storing works of art based on digital files on a hard drive to revalue them and extract them from the noise of the internet. An attempt to put the spotlight on the value of the intangible in contemporary culture.

In 2019 this museum was the first to be stored in DNA under DNA Storage techniques that will be explained later due to the important role they play in this project. The Harddiskmuseum is also accompanied in its origin by the "Manifesto Intangible", a document that gives conceptual sense to the project and a clear precedent of the artist's artistic intentions.

Another reference project in the context of "Manifesto Terricola" is OLEA, in which the artist manages to store the smart contract of an Ethereum blockchain token also in DNA, which gives rise to what he calls a “biotoken".

This DNA, expressed in a group of bacteria, is subsequently introduced into olive oil, creating an original biological bank connected physically and conceptually with the blockchain and historically linking two economies, the first represented by agriculture and a current one based on digital.

In other projects such as Introns, the artist plays with the concept of DNA profiling to create geometric avatars that represent humans within the context of the metaverse, posing a visual and conceptual alternative to the concept of the traditional anthropomorphic avatar, reified and sexualised by the consumption of the body.

These are some of the examples that the artist has been developing from his studio, but in the general context, new media and digital art has gained in recent years, a fundamental relevance to understand contemporary culture.

With the pandemic provoked by Covid19, the processes of assimilation of disruptive technologies with Web3.0 and its most evident representation through the concept of NFTs and the controversial cryptocurrencies, we are positioned in a technological place where everything is possible.

A second consequence of this pandemic is the close co-relationship between biology, science and digital technologies. Recall that our PCRs were already available on our digital device, creating a direct conceptual bridge between the personal biological and the personal mobile device. In countries such as China and Japan, moreover, this process takes place in situ, in the home, where citizens already have all the biotechnological machinery at their disposal to obtain the results of their DNA samples.

All in all, the global context has meant that the relationship between art, science and technology (biotechnology) is nowadays very close.

Technology has become the new hope of humanity in many ways, even provoking a mystical displacement to the detriment of religion, which now struggles to adapt its historical and nineteenth-century precepts to a society that is no longer binary, neither hetero nor homo, neither black nor white, but undefined, a question that breaks with all the established canons firmly represented by the concept of heaven and hell.

If we continue with this simile, we can affirm that we find ourselves precisely in an ideological limbo, in which the forces and factual power indicate that technology and all that it entails, is a great power and a new weapon of mass destruction, with risks even as serious as sentimental genocide or genocide of the collective conscience.

And meanwhile, in this loop of anaesthesia, provoked in a certain way by the misuse of these technologies, especially communication, which have turned our mobiles into the pixels of a great world television (commonly known as the "idiot box"), the Earth continues to spin, or at least it seems so (our nucleus, precisely at this time in January 2023, has slowed down its spin once again, as if giving us to understand that it is going in another direction) and that the changes of polarisation, as is happening with society, are turning.

We are both direct victims and executioners at the same time of what already has a name, "eco-anxiety", a psychological disorder already often mentioned by psychologists, which describes the alteration of the patient's state due to his or her concern about climate change. The term was coined and supported by the American Psychological Association in 2017.

But it is perhaps more interesting to bring up a term previously coined by the Australian philosopher Glenn Albrecht that already includes this tension and suffering derived from the habitable environment. “Solastalgia” defines the same state mentioned in eco-anxiety but in native population groups who are deprived of their traditional living conditions, their territory, customs, objects and surrounding nature, which makes them forced "aliens" from their former Earth. Perhaps a feeling that is already present in Inuit communities and peoples.

This climate change has also already been summed up in a term that comes out of the mouths of philosophers, snobs, environmental professionals, psychologists, artists, politicians... a widespread term but one that we have not yet defined in its magnitude because when a new terminology is introduced, its acceptance is inherently proposed. And this acceptance has implications of great weight for the future of humanity.

The "anthroposcene". This term, proposed by Nobel laureate Paul Crutzen in 2002, defines the current age symbolised by a constant and evident deterioration of the environment as a consequence of human activity. The term also contains other interesting definitions to be questioned, such as the concept of environment itself. From the moment this term becomes popular, as we said, we find a succinct acceptance. An acceptance of having islands and even continents of plastic, or the fact of beginning to take advantage of the melting Arctic ice to establish faster trade routes between East and West, or rather, between China and Europe. These acceptances are sometimes somewhat absurd, or is it that there is something we have not been told and that we are already prepared to inhabit an Earth that will never be as we understand it?

At times, myself feels a bit like this, as if to say, well it seems that everything is under control, that they know what they are doing and that the change of our habitat is not urgent as there is a plan already in place to deal with it.

But I honestly don't think this is the case. Our ecosystem is seriously damaged and for those of us who like it pure and clean, our environment is already an assault on the senses, the intellect, education, ethics, morality, intellectuality, conscience and respect for our species and others. There is practically no place in the world where we do not already have an imprint present. Even those places we have not physically visited already bear our trace, as in the case of that sea plastic bag, which like an anthropocene jellyfish floated in waters more than 10,000 metres deep in the Mariana Trench in the Pacific Ocean. Its discoverer, Victor Vescovo, broke the depth record for an exploration and evidenced another record for humanity, that of our complete incapacity to stop this vicious circle that is driven by the economy of the here and now.

If we talk about economy, we must go back to the origins of agriculture, back in 10,000 BC according to studies at the Göbekli Tepe site in Turkey. This period coincided with a change in the genetics of cereals, which allowed their intensive and extensive cultivation, the sedentarisation of humans and consequently "civilisation". This gesture changed everything, as the Earth ceased to be the Eden that offers us its fruits and became the factory of our desires. The motives and technology of this genetic alteration would be the subject of another study. What is interesting here to contextualise the "Manifesto Terricola" project is how the economy has taken an ideological place that only a new economy can replace, and for that we must re-economise the Earth and put it back in the right place of interest. This seems very complex in a global ecosystem where everything is polarised by immediate desire, well-being and the right to a "dignified life", a fight that, given the number of inhabitants on the planet, has already generated serious geopolitical borders for the understanding of the different contemporary civilisations. Hatred is the locus of the economy and is taking over everything to such an extent that we can affirm that we are in a society enraged, lost in anger and obviously disconnected by the consequences of this violent act.

But the situation is unsustainable and an economy without a place to develop it seems impossible. Here my doubts arise about the plan B drawn up somewhere. It is not possible that we do not have this strategy designed by those whose economy will leave our atmosphere and spread to other places in the universe, because if not, the logic is something that does not exist.

It is very scary to see how the human being commercialises with everything that is essential, the aforementioned agriculture and the product of the Earth, the appropriation of its land and species, of the place called the world and its fundamental concepts and facts such as health represented by medicine or ethics by religion, among other disciplines.

All these issues are basic to the future of a complex society and that is precisely where the primary business is established. The rest we all know. The only alternative to a paradigm shift lies in shifting the interests of this basic economy to other scales of value and principles, leaving the Earth to breathe easy, for if there is one thing I know for sure. Let us remember that we are on Earth in a renting period.

Within this global social, economic and ideological context, when things go wrong for us, we find no solution and we feel alone in this vast universe, religions and great technologies emerge and, like a new deity, they are proposing a window of salvation to the one that is coming. This is undoubtedly generating an unprecedented ideological crisis, already noted recently, but much deeper than a paragraph can explain. The leap in humanitarian consciousness that we are witnessing is generating a social and class split. We could imagine this differential leap between the extreme Catholic and evangelist believers who make up more than 50% of the population of a country like Brazil, and demoralised atheist population groups living in innovation clusters and technological hubs on islands and natural paradises, who see in technology a new technocratised model of life that offers both informational and technical well-being as well as an evolved level of consciousness thanks to this massification of information, which, if well treated, is a very powerful weapon.

It is undoubtedly an unprecedented conceptual war in which technology and science and their empirical power are brutally pitted against the power of history, myth and the deities present in our vestiges of an antiquity temporarily questioned by the very techniques used and which, precisely because technology has called into question its origins and its main actors. This information, as controversial as any other for a system under control through faith, dismantles myths at the click of a button, which are refuted with the noise of fake news, image alteration, CGI and paid testimonies. A truly interesting moment that distracts us so much that we forget precisely the big issues that are fundamental to keeping our ecosystem habitable.

This power struggle (science and technology vs. religion and faith) has led to what we have called "transhumanism", another interesting term coined in recent history by Fereidoun M. Escandadiary, which refers to a cultural, intellectual and technological movement in which human beings are modified through disruptive tools that improve their capacity on various levels. Undoubtedly, the leap in consciousness proposed in the interesting analysis of the Kardashev Scale could serve as an example to understand this evolutionary leap in consciousness proposed by technology as a whole, taking us from mere hunter-gatherers to intergalactic beings who control space, time and matter at will, a kind of spatial agriculture, which would undoubtedly have to be reviewed at its base. Feeling transhumanist and also accepting this condition gives us an environmental and medial "carte blanche" to relate to the world in an unconditional and unlimited way, expanding our physical, intellectual and cognitive capacities but at the same time helping us to adapt more quickly to an environment that we ourselves are modifying. This haughty attitude that situates us as semi-gods empowered by technology generates rivers of ink as long as the critical positioning implied about our species and the identification of the moment when we cease to be who we are and become another, no longer terrestrial, species. It is what I call the "threshold", a tense positioning that provokes a leap in one direction or the other, the precipice or solid ground. What becomes evident is that staying on the threshold forever is not possible because the poles have a great magnetism and in this matter there is no middle ground, since to belong to technology is to belong to an intertwined system of hyperconnections and data that make possible a new network, as if it were pulses of fungi underground. And belonging to the disconnected model of information can generate a real split even at the species level. In any case, it is interesting to contextualise how transhumanism is the confluence and solution to this moral conflict between science and religion to give way to a figure that contemplates both concepts through the empowerment and increase of once-human capacities thanks to technology, which will turn us into a different species, perhaps adapted to another planet that no longer answers to the name of Earth, just as we would not answer to the name of humans or homo sapiens. This question is particularly relevant in the context of the "Manifesto Terricola" project since, as we will see later on, the intentions and the overall message of the project do not lie in the idea of knowing ourselves in an uninhabitable world, but understanding ourselves in the need to adapt physiologically or to flee and rethink the opportunity it offers us or to regret what we have lost.

An ideal place to ask ourselves these questions is in the space of art and philosophy or the evolution of the intellect. Using this technological functionality to expand the capacities of expression and understanding of the world becomes a utilitarian obligation of these advances, with art being the place of convergence as it has been historically. The spaces of manifestation that we understand today as artistic have historically reflected the changes of the moment, the doubts, challenges, aesthetics, wars and disputes, opportunities and duels, and although we may think of ourselves as more "modern", art today continues to do the same. This is where the application of technology comes into play from a conceptual and respectful point of view, with a global message that expresses itself for all, and where the project begins to make sense.

After this contextualisation and existential approach, we present the main motivations of the Manifesto Terricola as a new opportunity of global consciousness change.

13< DOCUMENTATION AND COMMUNICATION

Audiovisual and photographic documentation of the scientific and artistic actions required to carry out the project, including the use of a drone with the necessary permits, is foreseen.

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MANIFESTO TERRICOLA by SOLIMAN LOpEZ