Core Dump is a series of 4 films, Kinshasa (2018), Shenzhen (2019), New York (2019) and Dakar (2018). The project explores the relationship between digital technology, cybernetics, colonialism and the reenchanted notion of a Non-Aligned Humanist Utopia.
The four films of Core Dump are rhizomatic assemblages of found footage, performance documentation and recorded interviews that form narrative portraits of the uncertainty in the nervous system of the digital earth. The films are fragmented arrangements of images and sounds, with each chapter forming links across geographic and temporal discontinuities. The conceptual framework draws from audiovisual archives, and responds to the pan-African, Marxist utopias of early African cinema (specifically Ousmane Sembene’s films), and a range of writers and thinkers – from Donna Haraway, Sylvia Wynter and Louis Chude-Sokei to Gayatri Spivak, Franz Fanon, and Aimé Césaire.
The series compares critical contexts and histories to suggest that the crucial technologies involved in moving towards a more just and equitable world are less physical than they are social. While the cynical billionaires of Silicon Valley invest in transhumanist technologies in an attempt to become immortal, build luxury underground apocalypse bunkers to fight off
future climate refugees, and design rockets to colonise mars, Core Dump emerges from the dystopian landfills of consumer culture as an imaginary of a new inclusive humanism that underscores relationality and interhuman narratives.
Core Dump ‘E-Revenant’ (2018) by Francois Knoetze. Photo Zidan, Courtesy of the Execution Team of Cosmopolis 1.5. Chengdu (2018).
Core Dump – Dakar (2018) by Francois Knoetze. Production still by Mouhamadou Diene. Featuring Bamba Diangne.
Core Dump – Kinshasa (2018) by Francois Knoetze. Production still by Jean Babtiste Jiore.
Core Dump – Dakar (2018) by Francois Knoetze. Production still by Anton Scholtz. Featuring Bamba Diangne.