Fabien Giraud

Third episode of The Unmanned series and replicating the editing structure of “1834 – La Mémoire de Masse”, “The Outlawed” takes place in August 1953 on the island of Corfu, in Greece, at the Club Méditerranée resort where Alan Turing spent his last summer. On a sunny afternoon, the mathematician and inventor of the modern computer, subjected to hormonal treatment after being convicted for his homosexuality, embarks on a makeshift raft to study the morphogenesis of marine organisms. As he explores the coast, the raft progressively drifts away. In the absence of any shore, lost at sea, an ungrounded scene unfolds.

Since the Taliban returned to power in August 2021, Afghanistan has drawn growing international attention for its enormous reserves of rare earths and strategic minerals essential to the global energy transition. The country is believed to hold more than €1 trillion in resources, including copper, lithium, cobalt, iron, uranium, chromite, mercury, and rare earth elements, as well as valuable gemstones and gold. Often described as the “Saudi Arabia of minerals,” Afghanistan has become the focus of a geopolitical race for supplies. While Europe and the United States remain hesitant to engage with a regime accused of serious human rights abuses, countries such as China, Russia, Turkey, Qatar, Pakistan, and India are already positioning themselves in Kabul to secure access to these critical resources.

Fourth episode of The Unmanned series, “The Uncomputable” is the story of a failure: the building in the northern plains of Scotland of a giant climate prediction factory by meteorologist Lewis Fry Richardson. This enormous inverted terrestrial globe supposed to host 64,000 women-computers and able to forecast the world weather was never built. Partly shot in a wind tunnel (used for aerodynamics simulation), this episode shows the impossible attempt at building the factory and the collapse of its hypothesis of a global computation. As a storm breaks out over the construction site for the simulation, the film itself and all of the parameters are progressively turned inside out.

Inspired by the writings of the feral child Kaspar Hauser and told by the young Friedrich, both father and son of Ray Kurzweil, this story unfolds on the microscope images of a blade cutting through metal. Filmed at the scale of a fold of matter, this cut is the axiom on which the first season of The Unmanned rests.

Fifth episode of The Unmanned, “La Mémoire de Masse” unfolds during the second Canuts revolts in Lyon in 1834. These riots now known as the ‘bloody week’ came as a reaction to the automation of work in the silk industry by the Jacquard Loom and its implementation of the punched card – first historical ‘mass storage’ system allowing the inscription and replication of complex weaving patterns. This inaugurating event in the history of workers emancipation movements of the 19th century is actually the first revolt against modern computation. Fully computer-generated, the riot sequence that splits the film in two parts operates a reversal of history by transforming a revolt against the algorithm into an algorithm of revolt.

Seventh and last episode of The Unmanned, “a flood” is set in 1542 as the first conquistadors enter the land later to be known as the Silicon Valley. Mining the colonial past of the region, and entirely generated and edited with an autonomous artificial intelligence system, this film for and by machines only features the return of an intelligence to its place of origin and the death of the animal gods who used to live in it. Closing the series onto itself with a machine trained solely on its first episode (“2045 – The Death of Ray Kurzweil”), it shows the wandering of an inhuman vision trying to revive meaning by recognising itself on the god’s corpses.