HIJACKED FUTURES X THE ANTI-HIJACKING OF DREAMS

By Fabiane M. Borges
Translated by Tanja Baudoin
For Giseli Vasconcelos, Leandro Nerefuh and Rafael Frazão,
of the anti-hijacking scheme.

1. THE HIJACKING OF SUBJECTIVITY IN SCIENCE FICTION FILMS

The woman is at a picnic, happy with her doting husband and perfect twin daughters.
Suddenly everything begins to come down, everything is shaking. Reality is undergoing
interference. Her sense of belonging begins to fall apart and she despairs. When she screams,
in a state of panic, she wakes up in another place. In a futurist factory, where she finds herself
standing in a dream cabin called Dreamatron – Fully Interactive Dream, and the name of her
cabin is “Picnic in the countryside”. She is leaving the cabin with the feeling that she’s been
abducted, when she meets a technician. He asks her if there were any repetitions in the dream
before she returned, she says yes, and then he tightens some screws on the equipment and
tells her to go back to the cabin, because there are still six minutes of the dream left. Upon
returning to her husband, she tells him that she had a nightmare, that she was in a machine
from the future, but that she would like to stay with him forever. Her husband kisses her
softly while she smells something burning, coming from the other side. “Dreams for Sale” 1
speaks of a fundamental issue that repeats itself in various other sci-fi 2 films: the intervention
of a system that hijacks subjectivity.

1 “Dreams for Sale” is the second episode of the first season (1985-86) of the TV series The Twilight Zone,
known in Brazil as Além da Imaginação. This episode is directed by Tommy Lee Wallace and written by Joe
Gannon (04/10/1985). Cfe. https://en.wikipedia.org/wiki/Dreams_for_Sale (accessed on 11/10/2017).

2 Some examples: Coma (2018), Cemetery of Splendor (2015), The Congress (2015), Source Code (2011),
Inception (2010), Sleep Dealer (2008), 1408 (2007), Paprika (2006), Stay (2005), Eternal Sunshine of the
Spotless Mind (2004), Waking Life (2001), Lost Children (1995), Strange Days (1995), Total Recall (1990),
Dark City (1998), Dreamscape (1984), Welt am Draht (1973 series), Solares (1972), The Lathe of Heaven
(1971), among others.
The hijack is mediated by the intrusion of suction dredgers in the most remote subjective
territories (individual and collective) for the extraction of buried desires and dreams. During
the suction, algorithms of control are implanted in the psychic mud and like a retrovirus, they
are tied to the manufacturing modes of unconscious cells – and reproduce themselves.

In the Black Mirror episode “Playtest” (2016), an interactive implant is introduced into one
man’s brain, that scans his unconscious characters and turns them into avatars of a game,
activates a techno-psychosis and causes the death of the character. In the film The Congress
(2013) we see a crowd of people addicted to a drug whose effect is a virtual parallel life in a
five-star hotel full of celebrities. But the main protagonist ingests a drug that returns her to
the real, and this reality is deeply devastated. As for the movie Sleep Dealer (2008), the
character hijacks the memories of others from their DNA that is connected to the internet.
She hijacks the imaginaries of those who live on the Mexican side of the wall (Tijuana),
which is the place of unlimited exploration. The director Alex Rivera 3 says that his film deals
with two themes that demonstrate his idea of the future: 1) technology as a device for people
to get closer and connect; 2) the increasingly restricted and controlled borders of the
globalized world. On the one hand, the world becomes integrated, on the other, it is fissured,
mined, with scarce resources.

In Matrix Reloaded (2003) we see the architect – creator of the Matrix – talking to Neo about
the Matrix situation: “A singular consciousness that spawned an entire race of machines. We
don’t know who struck first, us or them. But we know that it was us that scorched the sky. At
the time they were dependent on solar power and it was believed that they would be unable
to survive without an energy source as abundant as the sun” Then they began to feed on
human energy. “(...) There are fields, Neo, endless fields where human beings are no longer
born. We are grown”.

In this conversation the architect tells Neo what happened with the world, after the
supermining, when life was sifted, dreams and futures hijacked, to sustain the megamachine
that humans themselves had invented.

3 Interview with Alex Rivera for Platform Summit (2014). Available at: https://www.youtube.com/watch?
v=eHPsmfLdiUs (accessed on 10/04/2017).
In “Dreams for Sale” (1985) the character dies in virtual reality. “At least she died happy”,
says the technician that couldn’t fix the dream machine.

In most of the sci-fi films cited here, we see that the imaginary is replaced by artificial
realities, by holograms that capture human sensation, perception and affection and gradually
turn them into the only source of reality. The subjects of many of these films are avatars,
virtual characters, or digital residues that are conjugated by the machines themselves. Many
of them become aware of the hijacking of their subjectivity through dreams.

2. THE TECHNOCENE - HIJACK OF FUTURES

The technocene associates technoscience + corporate capitalism. One of its future projects is
trans-humanism (singularity). We are gradually led to the field of cultivating humans –
controlled by whom? Tech giants. 4 Mega-machines that unconsciously persuade us for the
treadmills of production and programmed consumption (zombification). We’re about to be
superseded by our own intelligence, connected and controlled by the artificial intelligence of
God – in the image and likeness of man! But this won’t eliminate borders, nor diminish
poverty, let alone oppression. Slavery will probably become the generalized human
condition, but always disguised as freedom, through a menu of market options (false freedom
= alienated slavery).

The technocene is one of the strong arms of the anthropocene. It is one of its excesses, a
saturated anthropotechnics, stretched to the farthest corners of the collective unconscious,
until where there is nothing more to discover, only to explore. Technique overcoming
anthropos, inverting the logic of enslaving machines. The machine enslaving anthropos. A
black hole with an absolute degree of gravity. The bones of anthropos soften, the voice loses
its reach, it creates its own ‘noisecracy’ – in a bubble that deflates and inflates –, like a
catatonic breathing. The vital tone is giving way to depression. “Humans not born, but grown
in monocultures”.

4 “Tech giants” is the term used to designate the largest information-, artificial intelligence- and technology
corporations of the world. Here is a data analysis of Facebook, as an example: https://labs.rs/en/ (accessed on
05/06/2017).
The extraction of metal from inside the earth is associated with the extraction of the mental
from inside our bodies. Earth and body resent this, get sick. Humans go on incorporating the
astronaut to deal with the decline of their own planet. Meanwhile the space stations try to
accelerate panspermia projects with terrestrial DNA for other planets, but lack financial
investment and priority. First it will be necessary to construct bodies with more durability and
connect their brains. The promise “in 20 years” persists. As long as we haven’t arrived at “20
years” yet, the rulers of the world reengineer themselves to dominate the scene of the
anthropocene, producing more capital with clean energy, the control of water, and cities,
while exponentially leaping into the super-mega-hypercontrol society.5

The (pedagogical) sum of the hijacking of the future is more or less this one:
TS + CC + AIG = HDF6 (technoscience + corporate capitalism + artificial intelligence of God
= hijacking of dreams and of the future).

The equation presented by this text is more or less this:

TX + AF + NU = FFD 7 (tecnoxamanismo [technoshamanism]+ ancestor-futurism + networks
of the unconscious = liberation of the future and of dreams).

The first equation points to a technology developed from paradigms that focus on security
and absolute control, with all its omnipresence, omnipotence and omniscience, representing
the God-machine. It survives, among other things, through the constant hijacking of human
subjectivity, and makes use of suppressors of psychic suffering through psychiatric medicine
(and biopiracy). In this view, the task of controlling the world belongs to a few. The war
envisaged here is a war between giants with consequences for the whole of humanity. The
paradigm is that of control (alienated zombie).

5 It is worth watching the video “Hyper-Reality”, by Keiichi Matsuda. Available at:

https://vimeo.com/166807261 (accessed on 04/06/2017).

6 To learn more about the relation between the society of control and the artificial intelligence of God, see the
book Comunidade dos espectros I – antropotecnia, by Fabián Ludueña Romandini. Florianópolis: Cultura e
Barbárie, 2012.

7 Cfe. BORGES, Fabiane M. “Prolegômenos para um possível tecnoxamanismo”, published in the magazine
Cadernos de Subjetividade, vol, 10, nº 15, 2013 – available at:
https://catahistorias.files.wordpress.com/2014/03/prolegc3b4menos-para-um-possc3advel-tecnoxamanismo.pdf
(accessed on 02/10/2017); and BORGES, Fabiane M. “Ancestrofuturismo – rituais do it yourself e cosmogonia
livre”, published in the book Tecnoxamanismo. Rio de Janeiro. Invisíveis Produções, 2016. Available at:
https://issuu.com/invisiveisproducoes/docs/tcnxmnsm_ebook_resolution_1 (accessed on 02/10/2017).
The second equation points to the search for other ontological (wasted) references to think
about the production of science and technology and their development. This is conceived on
the basis of technoshamanist, ancestrofuturist and hyperstitional criteria, that connect the
collective machinic unconscious for the promotion of the emancipation of dreams and of the
future, from the radical imaginary creation from the ordinary. It operates with the logic of
autonomy and interdependence, the logic of interconnected communes. The fundamental
ethic is that of “living well” linked to the animistic coexistence of substances, elements,
earthlings, technology, planet Earth and Cosmos. The war envisaged here is a war against the
owners of the world, as well as constant guerilla actions among civilian groups, many of
them subsidized by competing corporations. The paradigm is that of freedom. But…

The documentary The Trap: What Happened to Our Dream of Freedom by Adam Curtis8
features a number of inputs about the hijacking of dreams of freedom in the post-Second
World War period, or about how institutions/corporations in the allied countries organized
themselves to implement the idea of “democracy and freedom”, when the real interest was to
take advantage of the international political vulnerability to generate more capital and extend
their corporations and territories. It was a new colonization by worldwide corporations, that
presented the dream of individual freedom as a banner, renewing the immanent-revolutionary
desire to free the people of despotism and authoritarianism. A lively investment in
individualism and competition, untangling the freedom from the communitarian coexistence,
forcing it to fit into a logic of production and consumption controlled and protected by targets
and numbers. The documentary speaks of politicians and scientists that promoted the notion
that human nature is based on self-interest. This self-interested nature constantly monitors
and creates strategies to win from or beat the other, and if it was pushed to the limit it would
create balance in the social body. This project affirmed itself during the Cold War, when
democracy positioned itself against communism, choosing to “potentialize” this nature as the
basis for a new model of a free and prosperous society, that eventually constitutes an
extraordinary system of social control, currently going under the banner of the fight against
terrorism, and that in the technocene only intensifies its mechanisms of control.

These grandiose affirmations are key for keeping us alert to the machine’s current state of
terrorism, that is steadily accelerating its process. Until recently the system more acutely

8 Cfe. Documentary The Trap: What Happened to our Dream of Freedom? by Adam Curtis. United Kingdom,
2007.
criminalized the radical movements of islamists, afro-descendants or neo-communists, but
now we are all painted with the same brush (everyone is a potential terrorist). In the terrorism
of the machine we are all being controlled by algorithms and systems that are incapable of
being absorbed by the human mind, but capable of manipulating (and punishing) humans
through its dangerous techno-ideological legacies. Each man for himself against this terror-
machine, as each one lives in its own individual tank, feeding the megamachine.

The onto-political dispute behind scientific and technological research is still the big
question. For what uses, to respond to which questions, what are the criteria for its
production? To remove it from this search – apparently with no point of return – for a God-
machine, a restructuring of our metaphysical and fictional bases is necessary.

Fiction is normally seen as an imaginary ability with no capacity of inscribing itself in the
real, or that only operates in a symbolic field. But ideas like hyperstition revert this
interpretation, giving value to the operability of fictional inventions, investing in their
potential of concretizing, in their plasticity, their capacity of materializing in the world. It’s a
concept that inspires and equips people so they can appropriate the mechanisms of the
constitution of reality, through the construction of fictions that can dispute the unfolding of
future paths in science and technology, for example. The current state of things is also the
result of hyperstitial phenomena, which a large part of the masses assume are the only
sources of reality, but are linked to a monocultural project (growing globalization to the
detriment of cultural particularities). Part of those who perceive the imposition of these
fictional holograms on terrestrial relations leave the dispute because they’re incapable of
creating fictions on this high level. We’re already living in a simulated world.

It is important to note that, in the context of science fiction that we have worked on so far,
films announce the terrorism of the machine and the hijacking of subjectivity, but also lend
themselves to anticipate possibilities for resistance. And when we speak of resistance it is
inevitable to think of ontologies that are wasted by this individualist logic, proclaimed by a
machine that promotes competition, that doesn’t give space to other perspectives that
nevertheless resist.
3. ANCESTROFUTURISM AND THE UNCONSCIOUS NETWORK

Where have the projects of the future that failed in the past ended up? This future we are
living now was disputed long before us, and all other futuristic projections were and are being
deactivated in the name of this project of supercontrol.

To think ancestrofuturism is to perceive from the desire of the expansion of the universe to its
points of agglutination and the formation of its orbits, which in turn was and continues to be
able of generating intelligences that think all of this, or that have already thought it from the
future. Radical ancestrality is a direct connection with the future, with the eternal return, with
all the recombinations of space-time. It happens as if we suddenly changed our frequency
scale and accessed a new horizon of events that would reconfigure the relation between past
and future, interlacing its cords regardless of distances, and that would even detach time from
space, to the point where it would be possible to access multidimensional states. We
inevitably are the consequence of a another epoch’s future project, while we lay the
foundation of the past for a coming future. This turns us into undeniable time travellers, since
we are nodes of past and future existences. Meanwhile we claim the lost ontologies in the
present existence. What type of ordinary consciousness would survive this expanded level of
awareness? We have reached a point at which not accessing this understanding will
undoubtedly lead us to ontological misery.

Here the networks of the unconscious enter into play. The schizo-analytic communication
project between humans and others (non-humans). The relation of an autistic person with
matter, the different stages of schizophrenia and their immaterial correspondents. I’m
thinking about the video Assemblages9 and the text "The Arachnean",10 that explore the
relation between autistic people and invisible elements, or natural elements, to invoke a
sensitive interchange that escapes from habitual language but accesses animist
communication. Instead of perceiving these relational dynamics as alienated from reality, the
authors help us see them as an active connection between entities, a knowledge that is wasted
by our society.

9 Cfe. “Assemblages” (2011), by Angela Melitopoulos and Maurizio Lazzarato. Available at:
https://www.youtube.com/watch?v=4L_m5vPQoaY (accessed on 10/10/2017).

10 Cfe. DELIGNY, Fernando. O aracniano e outros textos. São Paulo: n-1, 2015.
The networks of the unconscious are meshes of data transmission that communicate through
a kind of entanglement of subtle threads, like colonies of small subterranean roots in
communication, responsible for the absorption of nutrients and the sustenance of fungi or
forests. This communication between the unconscious ones those unconscious isn’t
interpretative, though it processes information on all levels: from inside to outside and
outside to inside – a kind of deep web or P2P that transmits content not easily found on the
superficial internet. This mighty and profuse mud of the collective unconsciousness
suppresses ontologies that, despite all risks, insist on sustaining futures and worlds that have
not yet been invented. Cultural massacres aren’t capable of exhausting this root exchange,
but… It’s necessary to strengthen this communication of the networks of the unconscious in
times of devastation.

Davi Kopenawa speaks about these networks of the unconscious in his book The Falling
Sky,11 in which he said that for the Yanomami, shamanic education necessarily passes through
dreams. It’s necessary to develop a dreaming body, to become a ghost, so one can leave the
body (sleeping or awake) and recognize other worlds. Not only the real world, but universes
of various sizes, the very large and the very small. Such as the world of the Xapiris, who are
very old but predict the future, that is, they are ancestors and futurists, as they announce the
falling of the sky, the end of the world that has in fact already happened at other times. And
he also says that white people don’t know how to dream, because they only dream about
themselves and their goods, so they can’t see and they think these other perspectives are lies.
It is because their networks of the unconscious are deactivated, too committed to the projects
of modernity.

These connections between networks of the unconscious aren’t only made between humans.
As in the case of the Wailpiris 12 (Australian Aboriginals), so it is in many other Amerindian
cases, among others, where dreams are indispensable for the demarcation of land, for
instance, since it is part of the daily life of these peoples to dream of the Earth/Land and
ancestry. Where they walked, what they ate, what projects of the future they constructed on
the earth that isn’t known, but belonged to their past generations and should again belong to
11 Cf. KOPENAWA, Davi and ALBERT, Bruce. A queda do céu: palavras de um xamã yanomami. São Paulo:
Companhia das Letras, 2015.

12 Cf. GLOWCZEWSKI, Barbara. Devires totêmicos: cosmopolítica do sonho. Translation: Jamille Pinheiro
and Abrahão de Oliveira Santos. São Paulo: n-1, 2015.
the future ones. It’s the work of dreams to pass through these areas that were once inhabited,
or narrated in songs. These dreams are brought to the indigenous unconsciousness by the
earth itself. It’s also the work of the dream (and not just of the dream) to think the future, the
destiny of the world, the relation between human and machine. It is worth recalling, for
example, the polemic documentary of Jean Rouch, Les maîtres fous,13 filmed in Accra,
Ghana, where participants of the religious movement Hauka do rituals of a cognitive and
performative character, about the new colonization and its colonizers with possession,
mimetics and dance. The possessions include technological elements such as weapons and
railroads that create a stage for reflection on these past and future relationships, mixing
ancestral rites with new colonial elements.

The so-called “magical thinking” of native peoples is intrinsically linked to the world of
dreams and its potential of constructing reality, as well as the production of knowledge.
Dreams as technology of an ancestor-futurist vision – that’s not limited to the human, nor to
the planet Earth, let alone to the neurotic daily life – although one can dream all of this. The
less laboured, the more self-absorbing the dream. To dream is to become other. To strengthen
the potential of the networks of dreams and of the unconscious is one of the possibilities to
get closer to lost ontologies.

4. THEY ARE TAKING OUR SLEEP!

Why is dreaming a resistance? Maybe Jonathan Crary can contribute to this answer with his
book Late-Capitalism and the Ends of Sleep,14 when he warns us that sleeping has been
considered an old-fashioned model that doesn’t make sense in modern society, according to
corporate production and consumption systems. They are greatly invested in projects for the
elimination of sleep:

At the initiative of Darpa (Defense Advanced Research Projects Agency) —the

division of advanced research at the Pentagon—, diverse laboratories are conducting
experimental tests on sleep deprivation, by resorting to neurochemical substances,
genetic therapy and magnetic transcranial stimulation. The short-term objective

13 Les maîtres fous, by Jean Rouch, filmed in Accra, Ghana, in 1985. Available at:
https://www.youtube.com/watch?v=z2jG3rQ0MNA (accessed on 13/07/2017).

14 Cf. CRARY, Jonathan. 24/7: Late Capitalism and the Ends of Sleep. London/New York, Verso, 2014.
 consists of developing methods that allow a fighter to stay at least seven days
without sleeping, and in the long-term the idea is to double this period, while
preserving high levels of mental and physical performance. The current means of
inducing insomnia have presented disturbing cognitive and psychic deficits (such as
reduced attention), as happened with the widespread use of amphetamines in many
of the twentieth century’s wars, and more recently, with drugs such as Provigil
(modafinil). Now, instead of researching ways to stimulate wakefulness, science
aims to reduce the body’s need for sleep. (CRARY, 2013).

It’s our job to drastically oppose projects of decreasing sleep and, instead, see dreams as a
public space of onto-political production, exploited by control systems. Activating the
network of the unconscious and the dream community is a potent form of resistance in our
point of view, that allows us to understand disputed relations for the domination of the
unconscious and equips us for this dispute. In this struggle we need to find command lines
that activate our collective capacity for producing worlds.

5. RECOVERY OF THE ONTOPOLITICAL PUBLIC SPACE OF DREAMS

There are innumerable works done around the subject of dreams and they all interest us.
From the ancient papyri that present treatises of experiences and interpretations of dreams of
Babylon, Egypt, to the little known peoples with their mythologies and dream practices.
There is a profusion of research and narratives in this field that we cannot account for here:
Nordic shamanic practices; Amerindian and Aboriginal technologies; African tribal methods
and Afro-descendant cults; Oriental techniques for dream-expansion; religious exercises;
theories of psychology and psychoanalysis; literary, cinematographic and artistic production;
scientific research into neurobiology; mystic narratives; REM sleep; paradoxical sleep; astral
projection; lucid dreaming; dream experiences with functional magnetic resonance; dream
machines and Google dreams, which employs user data for the random creation of images.
Science fiction, as we’ve seen so far, has produced fantasies about dreams of all types: of
anomalies, terror, androids, robots, ships that dream, planets that dream, of animate and
inanimate dreamers.

Dreams continue to be a stimulating field of inquiry, even though there are thousands of years
of dreaming and so many projects of exploring and commercializing the unconscious.
Below I present some experiences and reflections about what we did on dreams, in order to
potentialize the formation of networks of unconsciousness. I introduce three actions as
examples of training/treatment of dreams (anti-hijack scheme): two done in Rio de Janeiro
(Casa Nuvem and CAPACETE) and one in Switzerland (through the Zurich University of the
Arts, carried out in the Swiss Alps).

These actions were produced in the clinical and the art context, in the hybridization of these
fields. I articulate dispositives of schizoanalysis, performance and technology (computational
and digital). These actions are conceptually/politically based in current concerns with the
anthropocene (climate crises, scarcity of natural resources, mining of the Earth for the
promotion of technological- and control-society, end of the world, etc). It also dialogues with
some parts of contemporary theories referring to speculative philosophy, perspectivism and
post-colonialism, as well as with elements of science fiction.

These actions are like a methodological apparatus that serves to amplify the specter of
narratives, cosmogonies, mythologies, fictional speculations and hyperstitions. Its guiding
line is the construction of a training camp and the treatment of dreams. Training because the
unconscious is a guerilla territory, with invasions from all sides, constantly sucked to feed the
machine of terror and control. That’s why we need to train it, to form gangs, networks, dream
communes, to make the signs turn, to widen the degrees of communicability. Treatment for
thinking, like Davi Kopenawa, that society is sick, incarnated by an “evil spirit”, that operates
the production of the world through the devastation of the unconscious and the
homogenization of desire, despite the menu of false choices.

It is important to emphasize that these actions are experimental methodological nodes that
can be recreated, remixed, sampled, etc., provided that they serve to activate the waves of
communication between the networks of the unconscious and trigger the anti-hijack scheme
of dreams. In the time of the anthropocene, it’s necessary to recover the Earth, as well as to
recover the onto-political public space of dreams.

6. TRAINING METHODOLOGIES - DREAM TREATMENT - ANTI-HIJACK

SCHEME:

Here I present the skeleton of the three actions:

6.1 - SCHIZOANALYSIS AND PERFORMANCE-RITUAL - FICTION AND
NOISECRACY15

Casa Nuvem - Rio de Janeiro (RJ) 10/17/2015. Course run by Fabiane M. Borges with the
collaboration of Renato Fabri + Giuliano Obici. Action divided into five parts: 1) Dreams; 2)
The translation of dreams (written); 3) Dream mining with Natural Language Processing -
NLP16 (with Renato Fabbri); 4) Editing dreams with Simulacrum Voices 17 (Giuliano Obici), 5)
Schizo-drama18 (Fabiane M. Borges).

6.1.1) The dreams. Even before the first day of the course, the participants were encouraged
to dream and remember their dreams during the day, to acquire the intimacy of dreaming,
remembering and translating.

6.1.2) The translation of dreams (written). There are various ways of translating a dream:
through writing, speech, recording, etc. In the case of this course we chose for writing
language, so that it was possible to work with NLP and Simulacrum Voices. In total we
received 26 dreams of the participants of the course over a 2 month period.

Some examples of the written dreams we received:

15 The complete course can be seen in more detail here: https://catahistorias.wordpress.com/2015/08/04/curso-

de-esquizoanalise-na-casa-nuvem/ (accessed on 29/09/2017).

16 Cf. Doctoral thesis by Renato Fabbri: “Topological stability and textual differentiation in human interaction
networks: statistical analysis, visualization and linked data”. Published with the Instituto de Física de São
Carlos/SP. Available at: http://www.teses.usp.br/teses/disponiveis/76/76132/tde-11092017-154706/pt-br.php
(accessed on 29/09/2017).

17 Website of Voices Simulacrum: http://www.giulianobici.com/site/voicessimulacrum.html (accessed on

29/09/2017).

18 Cf. Gregório F. Baremblitt: “We designate the preferred paradigm of schizodrama as: ethical, aesthetic,
political, and secondly, as scientific, mythical... etc. Such a paradigm must be understood as dramatic, in the
sense that it is an art that dramatizes a philosophy, that in turn dramatizes sciences and that also dramatizes
myths… and… and… multiplying like this. It’s possible to say then, that we’re dealing with a dramatization of
philosophical concepts, that dramatize scientific functions or artistic varieties, and other diverse variegations at
untimely times and in slick spaces, according to various regimes of signs, semiotics, etc.”. Blog of the author:
http://artigosgregorio.blogspot.com.br/2008/02/dez-proposies-descartveis-acerca-do.html (accessed on
29/09/2017).
“I slid down a slide in a playground in space, between starlight and deep darkness, until I fell
into a room where a lover was intertwined with a woman’s legs, and when I observed the legs
I realized: her feet were glands”.

“Bars of coconut soap were wet with dew, from inside these bars translucent and beautiful
lizards come out, they lick their own faces and smile at me.”

“I rode my bike around a place that had landscape gardeners in the corner, middle and bottom
working as builders. People came floating as if they were landing on Earth (like airplanes,
with lightness, only on their feet).”

“People worked on a cure for a fatal disease on two large machines, there were various tests
and I was dressed as a child. The maid rushed out and took off her old clothes, put on new
ones and said: ‘There goes a car’. ‘I want to be on the street with the people’, she says, in her
expensive new clothes.”

6.1.3) Mining of dreams with NLP – Natural Language Processing: a data mining done
with Python by the programmer Renato Fabbri, applied to the written dreams of the
participants. We used the filtering of phrases, reordering based on the alphabet and recurrent
word count with or without word repetition, approximation by number of characters, or
words that start and end sentences, among other things.

The channeling of these minings produced a collection of derived dreams (not originals, but
in reference to the originals), because it was applied to the 26 dreams together, not to isolated
dreams. These oneiric derivations supported discussions about art and clinical practice, as
well as about computational mining, resulting in a scientific article for publication in
Computational Modeling.19

Here are two examples of mining done with the written dreams of the course participants:
Example 1:

“I slipped glands

19 Cf. Renato Fabbri and Fabiane M. Borges, “Text Mining Descriptions of Dreams: Aesthetic and Clinical
Efforts”, published on the occasion of the Encontro Nacional de Modelagem Computacional on 19/10/2017.
They frightened in
I sweated
The horses
It’s not over
Bars me
I walked builders
People
I dreamed I formed
Was a boy
After good
This my
Dreams coming down
The brother
My punishment
Brother begins
My he
My demonstration
After
I wall
I feel from him
The importance
The hole
I woke up breathless
Feeling NO
I’m on my way
Was persecuted
When perceived
The time
Up to the door
The thereof
I to survive
It looked like tools
Three me
I wash the piano
There were tyrant
In him all
They set fire
Arrested people
I started there
But would destroy
People child”

Example 2:
“A car
I new
A very
I put hole
I dreamed
Only physically
I contact
He independence
Was like that
There moon
On moon
Someone a lot
I wake up I wake up
I song
In musical
I live
I repair they admire
I dreamed cockroaches
All dead
All kitchen
Them dog
All interrupts
Cut hair
She tips
On the microphone
We try new
We call to smoke
We enter we exit
We are external
We need people
I wake side
One window
A pink
We were going to
After eggs
He they broke
A hurry
Was bureaucracy
I times
In the era
I today
We had shipwreck
The were readable
The flying
The immense
Then view
I closed
We were swimming pool
In curious
He place
We commented painlessly
The increased
In the like that
The hairs
When everything
I complained huh
She fast
I etc.
That”.
6.1.4) SV – Simulacrum Voices: a programme developed by the electronic musician
Giuliano Obici, which simulates human voices through algorhythms that synthesize text in
TTS (text to speech). It’s made with and by computers. The SV, that utilizes devices
integrated in the computer, such as network, sound and video cards, produced an audiovisual
instrument, redistributing the participants’ dreams. The dreams were mixed by the simulacra,
bringing a futuristic atmosphere to the encounter, producing a sensation of delirious machines
or memories forgotten in the past, taken up by synthetic realities, a dream-gambiarra
[improvised solution] between humans and machines – and their simulators.
Frame of the projection of Simulacrum Voices producing the pairings of dreams:

Video: Amanda Flou

6.1.5) Schizodrama: After these two processes came the third, in which I conducted a
session of schizo-drama, simulating the previous paths, that is, producing the pairings of
dreams and the oneiric derivations, but this time without using the computers. The idea was
to test the dreams on different levels to evaluate the results derived from the participants.
We applied a noisecratic method, where each participant accessed the written dreams of one
another, constructing rhythms, intonations, repetitions, exchanges of dreams through talking,
screaming, telling secrets. When the dreams were properly exchanged, as with noisecracy it
begins with a dream, but during the process it mixes with signs and interlaces the narratives, I
asked that the group divide itself in two. With everybody sitting on the floor, I put a candle in
the middle and each group had to tell their dreams together to the other group. Speaking
together still in the noisecratic programme. The other group listened and returned what they
had heard in a noisy, non-harmonious way, that is, without consensus or previous discussion,
and so on. We repeated this centrifugal sequence until a kind of delirious, absurd narrative
was created. Then I asked each to leave the circle and alone choose at least the mood of the
mixed dreams that was fixed most in their head, and then reduce this to a plausible size, an
atmosphere, a mood, a character. And so we formed pairs to exchange these atmospheres,
moods, characters, and from this relationship a derived dream-narrative was constructed.

Images of the application of schizo-drama. Photography: Amanda Flou

An example of a dream derived from the schizodrama process:

“I was on a path, which I knew I had to pass through to survive, but this path was all messy
with a great deal of objects and more objects that blocked the passage. One voice said ‘it’s no
use insisting, it’s no use insisting.’ But suddenly I touched an object and it fell apart, and in
fact I was able to go wherever I wanted to, I just had to touch the objects so they would be
undone.”

6.2 HIJACKED FUTURES X THE ANTI-HIJACKING OF DREAMS. An immersive

course of 10 days - “Clinical practice and Art’ at CAPACETE, Rio de Janeiro (RJ), carried
out by Fabiane M. Borges and Leandro Nerefuh in collaboration with Giseli Vasconcelos,
Marcelo Marssares, Paola Barreto e Rafael Frazão – http://capacete.org/?p=1950. (Note:
Peter Pál Pelbart was also invited to participate, but unfortunately we couldn’t subsidize his
stay in Rio de Janeiro).

For the photos of the whole process (by Rafael Frazão:)

https://www.flickr.com/photos/22405820@N08/albums/72157666726214083/with/27179169
320/

Here the dreams passed through different manipulation techniques (language of alchemy):

6.2.1) The dreams. Even before the first day of the course, the participants were encouraged
to dream and remember their dreams during the day, to acquire the intimacy of dreaming,
remembering and translating.

6.2.2) Translation of dreams (writing). On the first day of the course each participant was
asked to if they could bring in writing the dreams of the previous night. These dreams were
passed through various manipulation techniques during 10 days. In total there were 28
dreams.

6.2.3) Day 1 – We organized four different rooms for the first day: Reception – Anomie –
Noisecracy – Recounting derived dreams.

First room – Reception: everyone seated in a circle, with their dreams in their hands,
receiving the first conceptual and practical clarifications about the programme.

Second room – Anomie: In the second room we asked everyone to put their dreams in a
metal bowl. The dreams were mixed up. Then redistributed. If someone would pick their own
dream, it was decided beforehand to put it back in the bowl and exchange it. We requested
that people read the other’s dream they had in their hands many times, until they recorded the
images well. Then the dreams were returned to the metal bowl, and we set fire to them.
Everyone was around the bonfire of dreams, until it went to ashes. Next we were putting a
blindfold over the eyes of each and dressed them with a black trash bag. From there we were
leading the participants through noises, sounds and with caution, as they couldn’t see
anything, into the third room.

Third room – Noisecracy: In the third room were projections, amplifiers, microphones,
speakers, light, instruments, mixers, and the people were asked to begin to tell the others’
dreams, one by one, louder and softer, screaming or whispering, singing or with gestures. The
people still didn’t fully know each other, the space had a heavy noise, the microphones
passed around to pick up the stories, amplifying them. After this state of noisecratic trance,
we asked that each one (all still blindfolded) form a small group of two or three people, and
put together a new dream, departing from what had stayed in their memory (all of it with the
colaboration of Caetano Maacumba and Marssares). The groups took off their blindfolds,
recognized each other and composed the derived dreams. So we went into the fourth room.

Fourth room – Recounting derived dreams: The fourth room was the same as the first,
only modified. Each pair or small group presented their derived dream to the whole group,
finally composing the dreams that would support the process of the next nine days.
6.2.4) Day 2 – We organized three different rooms for the second day: Derived Dreams –
Process of Performatization – Conversation

First room – Derived Dreams: We put three large boards there, covered in paper and split
into three categories. First board: Environment. Second board: Character. Third board:
Incidence. We asked the participants to write on each specific piece of wood, according to
their memories of the derived dreams. The people put them down as they remembered. Then
we took the wooden boards to the second room.

Second room – Process of Performatization: With cloths on the floor, lights, microphones
and electronic, digital and acoustic instruments, the participants were invited to reorganize
themselves into pairs or small groups, different from whom they were with the previous day,
to see together the environments, characters and incidences, and to translate this into a
performative language. The groups created scenes without using logical language, while
images, films or videos related to dreams were projected on their bodies (research of Rafael
Frazão).

Third room – Conversation about the process: talking in a circle – food and drinks.
6.2.5) Day 3 – Spectrometer course with Paola Barreto. Paola Barreto started the meeting
talking about her thesis about the Cine Fantasma [Ghost Cinema]. The participants received a
kit to create their own spectrometer. The speculation about ghosts was brought to the course
and materialized with noise emitted by equipment. The study of ghosts created the aura
necessary for the idea that we were acting on things that are invisible, but present, even if not
everyone was able to finish their spectrometer.

6.2.6) Days 4, 5 and 6 – Everybody went to the countryside home of Camilla Rocha Campos
and Marcelo Marssares for three days (with Ducha’s bus). There we camped and proposed
three processes:

First - Exercise of writing and remembering: Giseli Vasconcelos did a dadaist dynamics
with the group, asking them all to take pen and paper, be silent and begin to write about
derived dreams in accordance with the inputs and the temporality that she indicated. The
process was based on the memory of the previous processes, what we called memorable
drafts.

Second - Selection from the memorable drafts: The drafts were also mixed and
redistributed. We asked the participants to remain silent, and in a state of concentration they
underlined the images and scenes that most caught their attention on the paper they held in
their hands. The highlighted texts were distributed again. From then on, the participants
spontaneously read the preferred underlined parts of their redistributed texts, while these
phrases were entered in the computer. The drafts became a script.

The memorable draft turned into a script of dreams, that served as reference for the creation
of a working process open to the public:

Example 1:
“A salt desert
Cloud of smoke
Veins
Terrestrial magma
It’s upside down
Inversion of gravity
Liquid that turns acid
A rope on a concrete pillar
A room with red film fluid
The song of the cicada that pierces the stone
The liquids are a house of humidity
Black almonds of the images fertilization of tsunamis
Generous
As if it’s gold as if it’s mine
Sensorial activism
The investigator opens such a state of perplexity
The boaster and the drunk meet in the same place
Tsunami
Fear another tsunami for what?
Wolf dog with mouth in the belly and teeth of waiting
From where comes the glitter a head
Listening to waves
Writing of listening”.

Third - Ritual on the beach: We asked the participants to bring from home ritualistic
elements, costumes and fabric for a ritual on the beach, already thinking of characters and
dreams. We went to the beach with Ducha’s bus. The beach was deserted. We set out in a
kind of procession, walking along the beach, until we found a suitable place to concentrate
and have a meeting of dream-characters.

6.2.7) Days 7 and 8 – Construction of the presentation piece: Upon returning to

CAPACETE, we began the elaboration of a presentation (total work in process format) for
the general audience. CAPACETE became the setting of the dreamworld of the participants
who had the script of dreams in their hands and already had some intimacy with the scenes
and characters produced during the immersive process. Each question about individual or
collective performance, ritual, costume, ambience, food, drinks, processes, was in reference
to the script of dreams.

6.2.8) Day 9 – Public presentation: All the rooms of CAPACETE were occupied. They
actualized the elements present in the dreams, such as coarse salt, tsunami, salt pillar, plants,
food, videos, sounds, light, projections, instruments, collage. Many things from the dream-
script were concretized in some way in the five occupied rooms. Each person from the
audience had to bring a bag of coarse salt to be allowed entry, it was placed in a metal bowl
until it was filled up, then it was dumped on the floor of the rooms and on the shoulders of
the public. Outside the entrance there were people selling cachaça and coarse salt, on top of
the debris. The walls in front of the CAPACETE School were taken over by words from the
dream-script, the entrance was a ritual of passage with a bath of salt and rue. Inside a closed
kitchen was selling drinks of the end of the world and a dark soup with potato fingers sticking
out from the plate, a lot of bonfires with smells, a smoke machine, the bodies of the visitors
were tied together, their eyes covered, and they were taken to the other rooms by some of the
participants. The pillar of salt stood motionless on top of a mountain of coarse salt for almost
five hours. The large room was occupied by dreams that were spoken, sung, touched, with
noises, silences, with explosions of batuques [percussion instruments], scented herbs, some
standing, others lying down. The third room was occupied by silence, a projection of videos
produced during the immersion, a place to lie down and keep quiet; the upper room was
occupied by a character who listened and massaged those who went there. There were five
hours of the dream ritual, where the characters, the texts and the moods were updated.

6.2.9) Day 10 – Closing of the course: Day for discussion of what happened, cleaning the
space, organizing the material, embraces, farewell.

Participants of the process and final presentation: Franciele Castilho, Julia Lameiras, Mariana
Kaufman, Raisa Inocêncio, Sue Nhamandu, Oliver Bulas, Mariana Marques, Anna Costa e
Silva, Luisa Marques, Thelma Vilas Boas, Cecilia Cavalieri, Rodrigo Krul, Patricia
Chiavazzoli, Livia Valle, Kadija de Paula, Caetano EhMaacumba, Ian Erickson-Kery,
Aurélia Defrance, SoJin Chun, Julia Retz, Camilla Rocha Campos, Giseli Vasconcelos,
Marcelo Marssares, Paola Barreto, Rafael Frazão, Leandro Nerefuh, Fabiane M. Borges.
Some images of the process:
Photos: Rafael Frazão

6.3) HIJACKED FUTURES VS. ANTI-HIJACK OF DREAMS IN THE SWISS ALPS.

Immersive course “Clinical practice and Art” at the Zurich University of Arts, carried out by
Fabiane M. Borges, with organization/production by Melanie Matthieu and Riikka Tauriainen
on 8 and 9 October 2016, on the Swiss Alp Fessis-Seeli.
Photos: https://www.flickr.com/photos/22405820@N08/albums/72157673706597872
Audio: https://archive.org/details/hijacked-futures-vs-anti-hijack-of-dreams

6.3.1) The dreams: It was requested that the participants (mostly students of visual arts of
the Zurich University of Arts) began to note down their dreams one week before the course,
and that each would bring a transcript (in English, since the course was going to be given in
this language) of their most meaningful dream.

6.3.2) Ascending the mountain: We climbed the steep mountain, walking about 2750
metres. It was minus 10ºC at the top where we exchanged our dreams. We memorized each
other’s dreams by heart, then set fire to our dreams.
6.3.3) Noisecracy: The people spread around the mountain top and started telling the dreams
of the others to each other as they remembered them. They exchanged dream information,
shouted, whispered, went to the top of rocks, talked loudly to the echo of the mountain, or hid
behind a rock and only spoke when someone approached them.

Photo: Riikka Tauriainen

6.3.4) Sleeping together: everyone slept together in a cabin in the same room, with 16
mattresses side by side. The idea was to be able to bring to the dreams the images that were
produced during the day and to try to observe if some signs would repeat in the dreams of the
participants.

6.3.5) Noisecracy 2: We did a second session of noisecracy, bringing the elements elaborated
on the previous day, and those that came during the dreams at night. We exchanged images
again, in order to end with authorship and privilege the signs that were repeated the most.

Photo: RiikkaTauriainen
6.3.6) Community of dreams: We passed through a plain where everyone blindfolded their
eyes, and I asked them to find partners in silence. Only after encountering people could one
begin to elaborate their derived dreams, without rationalization, only departing from three
requested characteristics: 1) environment, 2) incidence, 3) character. Four groups were
formed and each of them produced a complex oneiric narrative, without ending, as two days
is very little time to propose any outcome.

Photo: Riikka Tauriainen

Example of a derived dream from the Alps:

We are in a tree with a newborn child, this tree is bigger than all the other trees, we are
traveling through the desert with this tree. Its branches protect us. They protect us from all the
things. We are all the things. The newborn child is all the things. And there is light. The
throats are smiling. All the things fall into a hole in the ground. The boat goes in the direction
of the desert and transforms itself into a wonderful garden. More trees appear in this
wonderful garden. The trees move towards the light. We are all smiling with the newborn
child. We are all the things in the hole in the ground of the desert”.

7. SOME ANALYSES AND RESULTS OF THE PRACTICES OF TREATING AND

TRAINING OF DREAMS

During 2016 and 2017 I did various immersive dream courses. I chose these three examples
because they are more closely related to the subjects that we are dealing with in this text:
science fiction, the anthropocene, speculative theories about the end of the world,
perspectivism, post-colonialism, etc. During these experiences we realized that, if some
conceptual bases were established to serve as a support for the exercises, the dreams began to
be guided by these bases and began to produce a kind of oneiric elaboration in regard to
them. The courses of two, three days aren’t as effective in providing the notion of the
formation of networks of the unconscious as the courses with a longer duration.

Here we first need to talk about the precarity of this investigation. We aren’t working with
state of the art technology, but with individual projects of computational programming or do-
it-yourself electronics, that our partners have been developing. Their research meets with our
dream work, but isn’t exclusively made for this, and as such it’s necessary to create some
adaptations to make the different projects function. In the case of the examples discussed in
this text, we can speak of four operators: 1) the use of electronic DIY equipment, such as the
spectrometer of Paola Barreto; 2) the mining done with NLP (Natural Language Processing)
by Renato Fabbri; 3) Simulacrum Voices, made by Giuliano Obici; 4) using digital
technology of the noisecratic programmes made by Rafael Frazão.

1) In the use of electronic DIY equipment, inserting the project of Paola Barreto’s
spectrometer was fundamental to introduce the dimension of listening to the invisible. The
participants learned to make the electronic device and then listened to magnetic fields and
make the relation with spatiality as a trigger for drifting. The idea that there are pieces of
concentrated energy that also produce noise, or noisy readings, generated a moment of
excitement and conceptual lucubration: spectrology, phantasmagoria, magnetic fields, dream
energy, the reality of dreams, etc. Not everyone managed to finish their spectrometers, but all
experimented with the DIY device.

2) Mining with NLP and Renato Fabbri opened a new field of work, putting the dreams of the
participants into a precise analysis of repeated words, recurrence of terms, references to
gender/race/class, etc. At the same time, the programme produced a literary language,
defining unconventional uses for mining, such as forming new phrases from the start and end
of sentences, bigger and smaller words, cacophonies, etc. The result of the mining can serve
various areas, from artistic use – film scripts, theatre pieces, poetic, literary or musical
production, or a work in process – to therapeutic use, since it activates a dream community
that is simulated by the computer, but connects unconscious signs, turns around their
meanings, creates shared memories among participants, even though it is done by
programming.
3) The use of Giuliano Obici’s Simulacrum Voices started a discussion, soon after its
demonstration, about entheogens, futurism, human decadence, human-machine coupling,
artificial intelligence, network intelligence, etc. A network of the unconscious was activated,
eliciting strong impressions and intimate conversations between participants, who talked
about what it was like to recognize their dreams in the chorus of simulated voices and what
this brought to the group. As with Natural Language Processing, here a derived dream world
was activated with and by the computer. The participants’ dreams were remixed by the
programmed robots, that narrated and then shuffled them, making new narratives. This
brought a cyborgian dimension to the meeting, and awakened an atmosphere of anguish
related to the dreams of robots, or the hijacking of human dreams by machines.

4) The use of digital technology in the noisecratic programmes made by Rafael Frazão helped
to create an immersive atmosphere, created overlapping layers of narratives and helped to
amplify the signs. We generally used some microphones, a mixer, effect pedals, projectors,
video mapping, etc. In some cases we managed to work with up to nine overlapping layers of
narratives, that acquired oneiric consistency and could provoke a state of trance if heard for
more than 40 minutes. This atmosphere was created by the participants themselves, and then
listened to by everyone. Below, in the noisecratic programme, it’s possible to understand
better these over-layerings and their communicational reach. It’s important to point out that
the use of equipment also creates derived dreams, part human, part machine.

The mixture of dreams or the noisecratic programme: the noisecratic mixture of dreams
generates a kind of centrifugal force that produces the separation of signs and promotes a
decantation of elements, separating them by density, thickness, or, in our language,
characters, environments, sensations, recurrences, etc. As this situation takes place, the owner
of the dream gradually loses authorship, putting their data in the rotor, making it detach from
themselves and others, until new pairings begin to form, that will determine the derived
dreams. This method can also be used so that people get to know each other in another way
from the rationalized exchange of information, but rather through an improvised, illogical,
imaginary exchange of information, where everyone takes part starting from their personal
profile. It creates a noisecratic environment. At first noisecracy produces a sensation of
estrangement, but after a certain amount of practice, another kind of communication is
triggered, like another language, where people begin to speak and respond in a seemingly
delirious atmosphere, but it’s actually being composed of dream-signs that activate different
perspectives, from where begins the construction of dream narratives of collective sign
coupling.

Derived dreams: The derived dreams (or narrative dream constructions of collective sign
pairing) are the initial phase of the work. When this moment is reached, the method in use
somehow forces a connection between the unconscious signs. To form the network of the
unconscious, something like an intranet (something specific and local), these signs must be
unfolded, analyzed, inflated. We consider these signs as archetypes or entities, and start to
think about them as if they brought messages from logos. This association of signs beings to
relate, sometimes in association, other times in differentiation. But the narratives that are
generated support the next steps of the process, that is, as noisecracy produces an immersive
and cathartic effect, these signs enter the network of unconscious and begin to be repeated in
the dreams of the group. As such the derived dreams begin to support new dreams that, when
added to the intimacy of the group, begin to work as a collective narrative, that can be used
for whatever purposes: political, artistic, research, etc.

Dream communities: At the course given at CAPACETE in Rio de Janeiro, we ascertained

that from the third day of immersion the people began to dream with one another and also
oneirically explore the signs that were appearing in the course of the previous days. In this
case we began to understand the dreams as a public arena, in which symbolical and
interpersonal encounters took place. Participants who were already involved with dreams
before the course, very quickly began to constitute a kind of parallel world where the dream
became priority. The people started to value dreams and bring this dimension to their daily
conversations: they became a reference of subjects and analyses, laughs and thoughts. The
constitution of a public dream arena denotes a potential that we wasted, as a rationalist and
nihilist society, but that shows ample signs of existence, when it’s triggered in a concentrated
and immersive way. This public territory isn’t valued, but is a place of exploratory invasions
in the society of control and of the terrorism of the machine. Advancing in the constitution of
dream societies strengthens the anti-hijack of dreams scheme, while it propels us to a network
of protection and hyperstitious constructions, more connected with animist desires, that is,
with “the others”, the non-humans, since one of the references of this work is exactly the
dream community of the Aboriginal Warlpiris.20 The pursuit of these immersions is also to
trigger a cosmopolitics that not only humans take part of. In this sense it’s worth mentioning
the book Linhas de animismo futuro [Lines of future animism] 21, that deals with the
discussion about animism and cosmopolitics and seeks to include non-humans in the public
arena of decision-making. Dreams are fundamental for the understanding of these other
singularities and forces produced by going deeper into the dream world.

8. CLOSING CONSIDERATIONS

The first part of this text began by presenting some science fiction films whose theme is the
hijacking of human subjectivity, or the intrusion of a system of control within human dreams.
Shortly thereafter our society is presented as mediated by the Technocene, which is one of the
strong branches of the Anthropocene, and how it promotes the hijacking of the future. It
confirms the idea that the excessive extraction of natural resources from within the Earth is
concurrent with the extraction of the “spirit” from inside our bodies, and this is leading us to
climate disasters and to ontological misery.

Afterwards, this text presents a pedagogical equation, in which it defines the onto-political
bases that support the text’s propositions, affirming that they are part of the grammar of
liberation of the future and of dreams. They are: technoshamanism + ancestor-futurism +
network of the unconscious. This is placed before the techno-ideological bases of the society
of control, responsible for the hijacking of the future and dreams, that are: technoscience +
corporate capitalism + artificial intelligence of God. It’s clear that these equations are in
conflict and dispute the network of the unconscious and the future of the Earth. It is
suggested that the great ideology of freedom and individuality, promised after the Second
World War by the industrial corporations of the allied countries, was a big trap, that
culminated in a terrible system of control.

Then the text emphasizes the importance of fiction and its capacity to create worlds, taking it
out of the constraints of the symbolical and imaginary universe and introducing it to actual
concretization. Fiction is then presented as one of the most powerful instruments for the
production of reality, just like hyperstition, which is the capacity to create fictions in groups,

20 GLOWCZEWSKI, Barbara. Devires totêmicos: cosmopolítica do sonho. São Paulo: n-1, 2015.
21 BENSUSAN, N. Hilan. Linhas de animismo futuro. Brasília. Ed. IEB/ Mil Folhas, 2017.
and materializing them in reality. Here the text returns to the films, claiming that these
fictions present the terrorism of the machine, the cornering that the society of control is
imposing on the whole world, at the same time as they present innumerable forms of
resistance or escape. Based on this idea of fiction as something determining, the text
introduces ancestor-futurism and networks of the unconscious, presenting them as
metaphysical projects of forced amplification of our ontological bases and restructuring the
idea of communicability between the many unconscious, presenting it as a radical operator of
ancestralities and futures between humans and the others (who are not humans, but other
entities). Here questions related to spectrality enter, parallel universes of signs that pass
through language and invisible fields that are inaccessible with this level of petty
consciousness, as Davi Kopenawa demonstrates when he says that white people only dream
about themselves and their goods and because of this they don’t see anything and think that
everything they don’t see is a lie.

The final part of the text shows dreams as one of the most powerful portals for the rescue of
lost ontologies of the past, as well as the production of freer futures. Departing from various
references, the text suggests a methodology of treatment/training of dreams, starting from a
relation between art and clinical practice. At that point some work methodologies appear,
coming from such practices as the noisecratic programme, derived dreams, dream
communities, etc. Each of these leads us to a higher degree of understanding about dreams as
an onto-political public space, which must be urgently rescued for there to be a possibility for
subjective resistance to the terrorism of the machine, and for the liberation of the future to be
strengthened through the anti-hijack scheme of dreams, because the freer the dreams, the
more capable they are of generating worlds.

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GLOWCZEWSKI, Barbara. Devires totêmicos: cosmopolítica do sonho. Translation: Jamille
Pinheiro and Abrahão de Oliveira Santos. São Paulo: n-1, 2015.
HARAWAY, J. Donna. Staying With the Trouble. New York: Duke University Press Books,
2016 (first edition).
JUNG, Carl Gustav. Os arquétipos e o inconsciente coletivo. Translation: Maria Luíza Appy,
Dora Mariana R. Ferreira da Silva. Petrópolis: Vozes, 2000.
KOPENAWA, Davi and ALBERT, Bruce. A queda do céu: palavras de um xamã yanomami.
São Paulo: Companhia das Letras, 2015.
KUZWEIL, Ray. The Singularity Is Near: When Humans Transcend Biology. New York:
Viking Penguin, 2006.
 LANA, Firmiano Arantes and LANA, Luiz Gomes. Antes o mundo não existia. São Paulo,
Livraria Cultura Editora, 1980.
LAND, Nick. Fanged Noumena: Collected Writings. Organized by Robin Mackay and Ray
Brassier. Falmouth, UK: Urbanomic, 2011.
PELBART, Peter Pál. “Esquizocenia”. In: Vida capital: ensaios de biopolítica. São Paulo:
Iluminuras, 2004.
ROLNIK, Suely. Esquizoanálise e Antropologia. Text published in the book Gilles Deleuze,
uma vida filosófica. São Paulo. Ed. 34, 2000.
ROMANDINI, Ludueña Fabian. Comunidade dos espectros I – antropotecnia. Florianópolis:
Cultura e Barbárie, 2012.
ROMANDINI, Ludueña Fabian. H. P. Lovecraft: a disjunção do ser. Florianópolis: Cultura e
Barbárie, 2013.
STENGERS, Isabelle. No tempo das catástrofes. São Paulo: Cosac Naify, 2015.
TADEU, Tomaz. Antropologia do ciborgue: as vertigens do pós-humano. Belo Horizonte:
Autêntica Editora Ltda, 2009.

FILMOGRAPHY
Coma – Directed by: Nikita Argunov. Russia/2018
Cemetery of Splendor – Directed by: Apichatpong Weerasethakul. Thailand/2015.
“Dreams for Sale” – Directed by: Tommy Lee Wallace, first season, second episode - of the
TV series The Twilight Zone. USA and Canada/1985.
The Congress – Directed by: Ari Folman. France, Israel, Belgium, Poland, Luxembourg and
Germany/2013.
Source Code – Directed by: Duncan Jones. USA and France/2011.
Inception – Directed by: Christopher Nolan. USA/2010.
Sleep Dealer – Directed by: Alex Rivera. USA and Mexico/2008.
1408 – Directed by: Mikael Hafstrom – USA/2007.
Paprika – Directed by: Satoshi Kon. Japan/2006.
Stay – Directed by: Marc Forster. USA/2005.
Eternal Sunshine of the Spotless Mind – Directed by: Michel Gondry. USA/2004.
Waking Life – Directed by: Richard Linklater. USA/2001.
The Cell – Directed by: Tarsem Singh. USA/2000.
Matrix – Directed by: The Wachowski Brothers. USA/1999.
The Thirteenth Floor – Directed by: Josef Rusnak. USA and Germany/1999.
Abre los ojos – Directed by: Alejandro Amenábar. Spain, France and Italy/1997.
Ghost in the Shell – Directed by: Mamoru Oshii. Japan and United Kingdom/1995.
La Cité des Enfants Perdus – Directed by: Marc Caro e Jean-Pierre Jeunet. France, Germany
and Spain/1995.
Strange Days – Directed by: Kathryn Bigelow. /1995.
Total Recall – Directed by: Paul Verhoeven. USA/1990.
Dark City – Directed by: Alex Proyas. USA and Australia/1998.
Dreamscape – Directed by: Joseph Ruben. USA/1984.
Welt am Draht – Directed by: Rainer Werner Fassbinder. TV series. Germany/1973.
Solaris – Directed by: Andrei Tarkovsky. Soviet Union/1972.
The Lathe of Heaven – Directed by: David Loxton and Fred Barzyk. USA/1971.
“Playtest” – Directed by: Dan Trachtenberg. Third season, second episode of the TV series
Black Mirror. United Kingdom/2016

DOCUMENTARIES

The Trap: What happened to our dream of freedom?. Adam Curtis. United Kingdom, 2007.

Les maîtres fous. Jean Rouch. Accra – Ghana/1955.

LINKS

“Gigante da tecnologia ou tech giants”. Available at: https://labs.rs/en/ (accessed on

05/06/2017).

Hyper Reality. Keiichi Matsuda. Available at: https://vimeo.com/166807261 (accessed on

04/06/2017).

Lecture by Alex Rivera for Platform Summit (2014). Available at:

https://www.youtube.com/watch?v=eHPsmfLdiUs (accessed on 10/04/2017).

BAREMBLITT, F. Gregório. Dez proposições descartáveis acerca do esquizodrama.

Available at: http://artigosgregorio.blogspot.com.br/2008/02/dez-proposies-descartveis-
acerca-do.html (accessed on 03/10/2017).

IMAGES

Immersion at CAPACETE – Hijacked Futures x the Anti-hijacking of Dreams – 2016:

https://www.flickr.com/photos/22405820@N08/albums/72157666726214083/with/27179169
320/
Immersion in the Swiss Alps – Hijacked futures vs. anti-hijack of dreams in the Swiss Alps –
2016: https://www.flickr.com/photos/22405820@N08/albums/72157673706597872