There Is No Sexual Rapport

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.

In this new commission, Pierre Huyghe plunges us into a "modern myth" where a faceless figure navigates a quantum realm outside time and space. Through film, sound, and light, boundaries dissolve between inner and outer worlds, living and non-living matter. Inspired by quantum theory, Huyghe collaborated with physicist Tommaso Calarco and philosopher Tobias Rees. The film translates quantum uncertainty into sensory experiences, with sound design even shaped by a 100-qubit quantum computer. Ultimately, Huyghe invites us to confront a “radical outside” of human subjectivity, where multiple realities coexist.

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.

The absurd logic of the ‘real character’ and the extreme rules of Disneyland become apparent when a real fan of Snow White is banned from entering the theme park dressed as Snow White.

First episode of the series The Unmanned, “The Death of Ray Kurzweil” shows the wandering of Ray Kurzweil (promoter of a technological immortality and of transhumanism) along with his father-son, Friedrich, in the vastness of a tropical forest. This film of anticipation, entirely filmed by drones, takes place in 2045, at the critical threshold of technological singularity.

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.

Sixth episode of The Unmanned and sharing the same camera movements as the episode “1997 – The Brute Force”, “Mil troi cens quarante huyt” refers to the appearance of a comet in 1759 – thus validating the computation and rational prediction of its return by the British astronomer and mathematician Edmond Halley. The action of the film goes back four centuries earlier, in 1348, and unfolds around one unique scene: the escape and the death of a bishop and his court in a forest during the first major outbreak of the Black Plague which was said at the time to be born in the hair of comets.

Second episode of The Unmanned series, “The Brute Force” reconstructs the minutes following Garry Kasparov’s defeat against the IBM Deep Blue computer on 11 May 1997. A camera with computer-programmed movements scrutinises the elements of an empty setting after the chess champion has left the scene, thus abandoning it to the disproportion of a world without its own scale.

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.

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.