Biennial 2064 is an exhibition about oracles in the age of artificial intelligence. If digital devices accumulate so much data, it is to project all kinds of forecasts for the future. This is the function of algorithms, which have taken over from the old oracles. However, these new auguries have all the points to be fulfilled: when they predict the future, they discard from the present everything that does not make it possible. Likewise, they edit the past only in relation to the prediction they have made. As a result of these logics, prediction has become a tool for refining the possibilities of what can be experienced and thought in the future.

This is happening right now, under the umbrella of emergency societies where there is no time, the present is growing and only the hope of the future remains. The prediction arises as the force capable of re-expanding time, of re-recovering it, but it also reveals and allows us to see what happens to memory in a data regime in which the depository images of life have become vident and say things we do not know.

Here we have some of these new sybils. When we asked them about the last Biennial 2064, the great event of immersive art, they ended up talking about forgotten works, marginal synergies, visions discarded over forty years, some of them exhibited in the Pou Rodó showroom. They are glitches, like the actions of Kriska Li in the 2030s, the events of the Voyager probe, anarchronism, the psychic currents of the 1940s, the AIconostasics... experiments aimed to spoil the forecast, to interrupt the prediction, to desert the future. Many of these currents concurred in assuming that forecasts are also capable of neutralising omens—another of the effects of the rupture in causal time generated by chronopolitical technologies. If a model is capable of suggesting a threat will materialise, it can also foster the appearance of false positives: controversial demonstrations that mock the determinism of the prediction.