Zoacodes evolved out of Ebon Fisher's digital ethics project, The Bionic Codes. Derived from the source code of the earlier project, these new protocols push further into biological territory in both form and purpose. Zoacodes are problem-solving networks embodying nonviolent principles of organic connection and interaction. They can be employed or ignored as situations warrant and can be mixed into endless combinations of sequences. They may also appear in any medium: the web, T-shirts, projections, even tattoos (see below). Like the Bionic Codes, Zoacodes are ultimately carried through the extended public nervous system as memes.
Above: Zoacode, Equalize Seduction, projected at PS1/MoMA, New York, curated by Robert Elmes.
Above: A Zoacode floating in the Nervepool.
Above: Exalt in Random Connections, permanently tattooed on the back of Anthropoligist, Dr. Erich Schienke
Above: Canadian programmer and biker, Geoff Wilson tattooed with the Zoacode, Orbit Probes Via Mutual Spin.
“In stark contrast to a dystopian, post-human wormhole where our technologies enslave us to a future warp-speeding out of control, Ebon Fisher's Nervepool invites us to dive into a world in which our technology, our biology and our humanity link us deeply to a mysterious source code through which we
celebrate our communal bonds and imagine a
future ‘unfolding before grace.' "
– Elizabeth Thompson, Executive Director
Buckminster Fuller Institute*
– Douglas Rushkoff, Frontline host
and writer, New York.
"Fisher wrote Utopian 'social programs' on the computer,
which he instructs his viewers to "absorb into memory" as templates for a new social (dis)order. Through community-based cultural enterprises and consumer technology, he aspired to reclaim the production of culture from the mass marketers."
– Jonathan Fineberg, Art Since 1940: Strategies of Being
"Ebon Fisher …More Jenny Holzerish than Jenny Holzer."
– New York Magazine
Above: Zoacodes at ArtSpace, New Haven, CT, 2010
Above: Bionic Codes and Zoacodes propagating through the media
*Thompson quote from an exhibit catalogue, Transformations in the Nervepool