Hoçâ Cové-Mbede is a writer, graphismæ designer and cultural/viral vector, their work is www. -avatar-based and mainly fuelled by Silicon Valley criticism, surveillance aesthetics, word-matter and sound speculation.



Hoçâ Cové-Mbede: Nine Questions for Alexandra Elbakyan


Molecula Menssagem: A Conversation with Eduardo Kac

Jeroen van Loon < Interview | From Blood To Data / Who Owns Your DNA’s Futur€?

Alessandro Delfanti / Interview ^ DIY BIO/TECHNOLOGY-inc.


Website: tecno-grafias.com / https://medium.com/@tecnografias

Work: vimeo.com/covembede

Bandcamp: hocadossilfuel.bandcamp.com/

The core-idea of O’S consists in a capsule prototype thought/designed as a feral-vessel (sent through anthropo technologic gestures) to fertilize foreign un-earthly territories. + a crystal capsule contains the egg-eye vessel shell (like tentacules, octopuses’ eyes and eggs are similar in form and truly unique + receptive beyond any other earth‘s creature) with octopus’ saliva; - this miraculous and poisonous viscosity is the element to be preserved as a dna sample to relocate and hopefully re-distribute this in-the-loop ^opuscentrist extention to rehabilitate new approach/es of the soon to happen past life, after the inavoidable caotic afterglow of CC*. maybe, (as absurds as this sounds) human preservation can fight other human dominated narratives with little bits of kephalópoda empathy, instead of hominidae apologisms.

What would happen in a rigid eternal planet/space reigned by mutant octopus’ flexibility and short life spans without human intervention?  O’S is the perfect candidate to educate distant futures about the so called “alien” vitality inside the dull limits of heterogametic life. as a CO2-extention on the  the possibility of imagining a ^opuscentrist scenario, this feral-vessel would represent potential seeds to think planetary control and expansion. in Donna Haraway’s words: octopuses’ “are good figures for the luring, beckoning, gorgeous, finite, dangerous precarities of the Chthulucene”. See? we are almost ready for the challenging excercises to depict an ^opuscene simulacrum. CC*:Climate Change

Octopus' Spit was originally selected for the Megalith Pavilion (curated by Jeremy Cahill & Seong-Young Her) in the 4th edition of The Wrong Biennale


Biopoetry (Scanner)


This is a visual re-model of the pioneer text Biopoetry by Eduardo Kac from 2002-03.

"Since the 1980s poetry has effectively moved away from the printed page. From the early days of the minitel to the personal computer as a writing and reading environment, we have witnessed the development of new poetic languages. Video, holography, programming and the Web have further expanded the possibilities and the reach of this new poetry. Now, in a world of clones, chimeras, and transgenic creatures, it is time to consider new directions for poetry in vivo. Below I propose the use of biotechnology and living organisms in poetry as a new realm of verbal, paraverbal, and non-verbal creation."

-Eduardo Kac

GLOBAL WARM-IN© Series (check wetransfer link)


GLOBAL WARM-IN© makes reference to the next excerpt taken from the Carbon Majors Report (2017): "The fossil fuel industry and its products accounted for 91% of global industrial GHGs in 2015, and about 70% of all anthropogenic GHG emissions"

The t-shirt was designed in 2017 in response to the 5,800 sq km iceberg splitted off from the Larsen C ice shelf, Antarctica.

The original phrase was: "That iceberg will eat your entire capitalist soul!" .