aer, Air, Illusion, Religious Concept & Wood redirect here.

Air, or more precisely the sharing of it, could be viewed as one of the most basic forms of social contract that mammals agree on with their existence. Since anthropocentric reality has created undignified living conditions for almost every organism on planet earth, this text wants to find its entry point through a species that is drastically different ‘with time‘ than we are, but at the same moment depends on our oxygen policy: the whale.

The action takes place in the context of the simulation and the text itself is intended to serve as a vector or similar source of reproduction. In tradition of Artaud it "[…] advocate[s] [the simulation to be] a revolving spectacle which, instead of making the stage and auditorium two closed worlds, without possible communication, spreads its visual and sonorous outbursts over the entire mass of the spectators." [1] The entire mass of the spectators is none other than you, and the piece is not meant to be any other than you, as well as you aren't meant to be any other than you at any time.
There is no doubt that the place of the simulation is a house of faith and that it can quickly give rise to religions of any sort. Earth Cry is supposed to be a ritual, an algorithm that is serving religion with criticism in a religious form, by the use of a rite which holds the belief that „[t]he criticism of religion disillusions [us], so that [we] will think, act and fashion [our] reality like [beings] who [have] discarded [their] illusions and regained [their] senses, so that [we] will move around [ourselves] as [our] own true Sun[s]. Religion is only the illusory Sun which revolves around [us] as long as [we] [do not] revolve around [ourselves].“ [2]. But how do we visualize the repeated process of returning within ourselves after seeing ourselves surrounded by satellites representing different versions of ourselves so as not to run in too many directions at once?

Let's take up Kim Namsoo's metaphorical use of the Klein bottle [3] , which he associates with whale myth. The process of the myth being contextualized within a very scientific framework shall become our imaginary stage and auditorium at once. "The abdomens of whales are theaters in which people’s lives are at stake; the Pacific, through which those whales have governed the entire globe, is located between a shrimp’s antennae; and such shrimps are diligently eaten by whales. Nip and tuck! The parts are the whole, and the whole feeds on the parts." [4].

We can also go a step further and let the exercise happen within the sleeping whale that is singing about its dreams under the pressure of the deep sea.

 Artaud, Antonin. The Theater and its Double. Translated by Mary Caroline Richards, Grove Press, 1958.
 Marx, Karl. Critique of Hegel's Philosophy of Right. Translated by Joseph O'Malley, Oxford University Press, 1970.
 Namsoo, Kim. "Korea's Whale Myths" Leviathan, 2017, https://leviathan-cycle.com/essays/koreas-whale-myths-leviathan-implying-dreams-of-the-pacific-like-the-klein-bottle/ – Accessed 8 January 2021.