The research stemmed from an investigation into Q-Anon conspiracies that I conducted during the pandemic. During this period, I collected internet media from conspiracy theorists across different platforms and noticed that many were climate change deniers. Despite a multitude of opinions, often conflicting, there was a prevailing sentiment that climate change wasn't a significant concern. Even though I stumbled on some absurd theories like space lasers causing forest fires for "climate terror," these were now only a small portion of the discourse. What I found intriguing was that, while most Q-Anon lore could be easily recognized as unrealistic theories, the content circulating about climate change appeared less extreme, sometimes even reasonable and scientific. Moreover, many of the individuals propagating such misinformation were not marginal, spanning from respected scientists to influential writers and personalities, thus able to reach a wider audience.

A method of transforming information into disinformation involves oversimplifying, distorting, and withholding bits of knowledge until the argument shifts. This concept inspired aesthetic research, based on information loss and manipulation. The audio-visual materials collected during this research were digitally processed to lose resolution and clarity. Initially, we drew inspiration from the 'fried meme' aesthetic, characterized by pixelation, compression, and oversaturation. Meme culture heavily influenced the aesthetic direction of the project. We chose to incorporate 'Pepe the Frog,' a meme character appropriated by the far-right years ago, as a symbol of fake news. Pepe's facial characteristics are used to distort the faces of various fake news personalities using AI filters. AI is employed to 'rework' and filter voices and music, imparting a distinct uncanny feeling.

Research on interactivity is part of my artistic practice since 15 years. The piece and each single scene required a development of a specific human-machine dynamic that would support the dramaturgy. These technologies require a significant amount of time to be spent on technical development of both hardware and software, as there is no ready-to-use system for these kinds of shows.
 I got passionate about these technologies around 2009, when I began exploring embodied interaction and performance. My academic background includes studies in visual arts and theater, and I have been playing and composing music since my teenage years. Using these technologies allows me to integrate sounds, visuals, lights, and physical performance into a single organism manifesting on stage. Each sound, visual, light change is either triggered or controlled in real-time by my actions, moreover, the machine has the “power” to make random choices. This makes the dialogue truly bidirectional as sometimes I have to react to what the system “decides”. It pushes me to be constantly aware of what the tech does around me. It is a very playful situation and this set-up provides tremendous freedom in terms of performance. There is no set timeline to follow; everything is open to improvisation, and each show is unique.

I think of it as an artistic reaction to a media atmosphere. It certainly has a political weight, but I let the conclusions to the audience. I share a journey through a social landscape, a possible downward spiral through misinformation that affects everyone of us, even if we are not directly targeted. Through this, I aim to present a perspective and shed light on the dynamics we are currently facing as a society. Although I have my personal views on the matter, I choose to ask questions rather than direct what one should believe.