Nothing is static. Everything is flow.
**Fluxus Fungus** is a project by visual artist [Tuane Eggers](http://www.tuaneeggers.com) [based in Porto Alegre/RS, Brazil] and emerges as a result of the investigations of his research entitled The Poetics of Fungi, in the master's degree in Visual Poetics, in the [Postgraduate Program in Visual Arts [PPGAV]](https://www.ufrgs.br/ppgav) of the University Federal University of Rio Grande do Sul [UFRGS] in 2020.

The website was developed by [Augusto Bennemann](https://augusto.dev), based on a visual concept by [Dani Eizirik](http://www.riacho.me), and has an open-source code, available [here](https://github.com/gutobenn/fluxusfungus). At each access, the mycelium appears at a different point on the screen, moved by the indeterminacy and unpredictability of fungal spores, as well as the contents that compose it - living uncertainty as a creative impulse. For every ten contents viewed, the possibility arises of opening a new mycelium with other spores. The song is [Pulse, by Project Mycelium](https://projectmycelium.bandcamp.com/album/pulse).

The project was contemplated by the Edital FAC Digital RS [ [www.cultura.rs.gov.br](https://www.cultura.rs.gov.br) / [www.feevale.br](https://www.feevale.br) / [www.feevaletechpark.com.br](https://www.feevaletechpark.com.br)] and selected at the [67th Salão Paranaense de Arte Contemporânea](http://www.mac.pr.gov.br/Pagina/Salao-Paranaense), promoted by the Museum of Contemporary Art of Paraná. Support is provided by Instituto de Artes of UFRGS and the Coordenação de Aperfeiçoamento de Pessoal de Nível Superior [CAPES].

//

Research: Tuane Eggers

Orientation: Eduardo Figueiredo Vieira da Cunha

Website development: Augusto Bennemann

Visual concept: Dani Eizirik

Music: Pulse, by Project Mycelium

![linhas logos.png](https://res.cloudinary.com/txtr/image/upload/v1602628404/linhas_logos_8011a91a7f.png)

Nothing is static. Everything is flow.
Fluxus Fungus is a project by visual artist <a href="http://www.tuaneeggers.com" target="_blank" rel="nofollow">Tuane Eggers</a> [based in Porto Alegre/RS, Brazil] and emerges as a result of the investigations of his research entitled The Poetics of Fungi, in the master's degree in Visual Poetics, in the <a href="https://www.ufrgs.br/ppgav" target="_blank" rel="nofollow">Postgraduate Program in Visual Arts [PPGAV]</a> of the University Federal University of Rio Grande do Sul [UFRGS] in 2020.
The website was developed by <a href="https://augusto.dev" target="_blank" rel="nofollow">Augusto Bennemann</a>, based on a visual concept by <a href="http://www.riacho.me" target="_blank" rel="nofollow">Dani Eizirik</a>, and has an open-source code, available <a href="https://github.com/gutobenn/fluxusfungus" target="_blank" rel="nofollow">here</a>. At each access, the mycelium appears at a different point on the screen, moved by the indeterminacy and unpredictability of fungal spores, as well as the contents that compose it - living uncertainty as a creative impulse. For every ten contents viewed, the possibility arises of opening a new mycelium with other spores. The song is <a href="https://projectmycelium.bandcamp.com/album/pulse" target="_blank" rel="nofollow">Pulse, by Project Mycelium</a>.
The project was contemplated by the Edital FAC Digital RS [ <a href="https://www.cultura.rs.gov.br" target="_blank" rel="nofollow">www.cultura.rs.gov.br</a> / <a href="https://www.feevale.br" target="_blank" rel="nofollow">www.feevale.br</a> / <a href="https://www.feevaletechpark.com.br" target="_blank" rel="nofollow">www.feevaletechpark.com.br</a>] and selected at the <a href="http://www.mac.pr.gov.br/Pagina/Salao-Paranaense" target="_blank" rel="nofollow">67th Salão Paranaense de Arte Contemporânea</a>, promoted by the Museum of Contemporary Art of Paraná. Support is provided by Instituto de Artes of UFRGS and the Coordenação de Aperfeiçoamento de Pessoal de Nível Superior [CAPES].
//
Research: Tuane Eggers
Orientation: Eduardo Figueiredo Vieira da Cunha
Website development: Augusto Bennemann
Visual concept: Dani Eizirik
Music: Pulse, by Project Mycelium
<img src="https://res.cloudinary.com/txtr/image/upload/v1602628404/linhas_logos_8011a91a7f.png" alt="linhas logos.png">

about

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Indeterminacy has a rich legacy in human appreciation of mushrooms. American composer John Cage wrote a set of short performance pieces called Indeterminacy, many of which celebrate encounters with mushrooms. Hunting wild mushrooms, for Cage, required a particular kind of attention: attention to the here and now of encounter, in all its contingencies and surprises.

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My first taste of the missing language was the word Puhpowee on my tongue. I stumbled upon it in a book by the Anishinaabe ethnobotanist Keewaydinoquay, in a treatise on the traditional uses of fungi by our people. Puhpowee, she explained, translates as “the force which causes mushrooms to push up from the earth overnight.” As a biologist, I was stunned that such a word existed. In all its technical vocabulary, Western science has no such term, no words to hold this mystery. You’d think that biologists, of all people, would have words for life. But in scientific language our terminology is used to define the boundaries of our knowing. What lies beyond our grasp remains unnamed.

The change, if they consent to look at it directly, without an intervening veil, will soon appear to them as the most substantial and lasting thing in the world. Its solidity is infinitely superior to that of a fixity that is only an ephemeral arrangement between mobilities.

Even this little fact can alert us to how much our thoughts about knowledge and existence just assume determinate life form and old age. We rarely imagine life without such limits - and when we do we stray into magic. [...] What if our indeterminate life form was not the shape of our bodies but rather the shape of our motions over time? Such indeterminacy expands our concept of human life, showing us how we are transformed by encounter. Humans and fungi share such here-and-now transformations through encounter. Sometimes they encounter each other.

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Definitely, Souriau's philosophy is perhaps as much a philosophy of law as a philosophy of art. Perhaps even art is entirely at the service of law. Is making certain existences more real, giving them a particular position or prominence, is it not a means of legitimizing their way of being, of giving them the right to exist in a certain form?

To find a new world, maybe you have to have lost one. Maybe you have to be lost. The dance of renewal, the dance that made world, was always danced here at the edge of things, on the brink, on the foggy coast.

Everything is in everything. This mixture makes the world and space the reality of a transmissibility and a universal translatability of forms. But what we call transmission is nothing more than an echo of this reciprocal inherence of everything in everything else: the world is a perpetual contagion. [...] Everything in the world produces mixture and is produced in mixture. Everything enters and leaves everywhere: the world is open, absolute freedom of movement, not side by side, but through bodies and others. To live, to experience or to be-in-the-world, also means to be crossed by everything. To leave oneself is always to enter into something from another, in its forms and in its aura: to go back within itself always means to prepare to find all kinds of forms, objects, images.

It's useless to pretend to know mushrooms. They escape your erudition. The more you know them, the less sure you feel about identifying them.

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How does a gathering become a ‘happening’, that is, greater than a sum of its parts? One answer is contamination. We are contaminated by our encounters; they change who we are as we make way for others. As contamination changes world-making projects, mutual worlds - and new directions - may emerge. Everyone carries a history of contamination; purity is not an option. One value of keeping precarity in mind is that it makes us remember that changing with circumstances is the stuff of survival.

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Something very nostalgic, that grows insignificantly and enters humanity. [...] What is huge and what is insignificant mix. This is the reality.

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Flows of intense feelings of joy &#x26; melancholy; laughter from happiness to tears; immense sadness &#x26; desire to cry; visualization of more vibrant colors; some visual effects; sensitivity to the tiniest movements, such as the wind blowing on plants in the sand on the shore, or the grains of sand moving slowly; to feel part of a unit when my feet sank in the sand with the waves of the sea; ability to view all cloud layers; understanding of the passage of time &#x26; impermanence; exaltation of life; esthesia.
Duration: about 4 hours (or an infinite time).

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Imagine that you could pass through two doors at once. It’s inconceivable, yet fungi do it all the time. When faced with a forked path, fungal hyphae don’t have to choose one or the other. They can branch and take both routes.

As land masses and mountain ranges form, successive generations of plants and animals are born, live, and die. Fungi are keystone species that create ever-thickening layers of soil, which allow future plant and animal generations to flourish. Without fungi, all ecosystems would fail.

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The world is a perpetual contagion.

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Where to find in itself the resources to legitimize a particular mode of existence? How to make existences more real? Perhaps existences must submit to other existences in order to place themselves or consolidate themselves, and vice versa. We do not exist by ourselves; we only really exist because we make something else exist. Every existence needs intensifiers to increase its reality. One being cannot earn the right to exist without the help of another, which he makes exist. Is this, precisely, the role of the lawyer »to intensify the reality of existences? Fight for new rights? It is a question of law, but it is more than ever the question of art: through what instating “gestures” are existences able to legitimately “place” themselves?

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To identify nature and the cosmos means, above all, to make nature not a separate principle, but what is expressed in all that is. Inversely, the world is not the logical set of all objects, nor a metaphysical totality of beings, but the physical force that exists through everything that is engendered and transformed.

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We relate, know, think, world, and tell stories through and with other stories, worlds, knowledges, thinking, yearnings. So do all the other critters of Terra, in all our bumptious diversity and category-breaking speciations and knottings. Other worlds for this might be materialism, evolution, ecology, sympoiesis, history, situated knowledges, cosmological performance, sciente art worldings, or animism, complete with all the contaminations and infections conjured by each of these terms. Critters are at stake in each other in every mixing and turning of the terran compost pile. We are compost, non posthuman; we inhabit the humusities, not the humanities. Philosophically and materially, I am a compostist, not a posthumanist. Critters - human and not - become with each other, compose and decompose each other, in every scale and register of time and stuff in sympoietic tangling, in ecological evolutionary developmental earthly worlding and unworlding.