In 2023, a seven year long selection process for post quantum cryptographic signature standards was concluded by the National Institute of Standards and Technology (NIST) - generating three quantum cryptographic standard selections amidst a zoo of more than twenty viable options. By the following year, 2024, the USA had a deluge of emerging legislation aiming to criminalize the applications of cryptographic signature standards by private citizens to the tune of six figure fines and decades under prison incarceration, should those private citizens be suspected of foreign collusion or considered to be subversive to the interests of the state, such as was the case with NC SB 686, legislation that ended up becoming mimicked by states all across the US.

For state subjects, citzens and workers, observation of these events begs the questioning-- why would individual level quantum cryptographic signature based defensive protections construe anti-state subversion, particularly when the theft-based exploitation of citizen workers form the civil basis for profit production and unjust incarcerations? And further, to what extent could this come to incriminate participants and organizers of general strikes or other coordinated labor demonstrations as subversive and treasonous actors, when suitable for landowner class interest?

The guiding inquiry of my preoccupations at this time centers around how might some new expression of a successful, plural civil public result from inescapable physical and psychic incarcerations of Westphalian Nuclear Order. As such, I am presently in active conduct of an artistic research survey intended to express the so-called "depth of post-quantum cryptographic multivalence's operational agnosticism to variations of materialist scalar order ranging from civil subject level dramaturgy to multi-organizational choreography.”

This is a survey in which artistic scrimmages of uses for post quantum cryptographic signature standards within the context of possible labor movement are to be performed and harvested for data both qualitative and quantitative, as an expression of optimism for the emergence of an anti-hostile, plural, civil public that does not presently exist.

Elements of my artistic practice thus far have operated with regards to
(1) an assumption of cinematic motion picture and interactive media architectures as the primary artifacts of mythoi and constructors of monument within post-contemporary American mainstreams;
(2) a recognition of modern surveillance capitalism as a fundamentally cinematizing force;
(3) an identification of the virtues resultant from dictations of political legislation, financial contracts, theologies, and social contracts (inclusive of product terms of use) as being constructors of virtuality broken from the cephalism of visual display monitors and cameral interstice. In a world where our ability to document reality through linear pictorial forms, still or moving, is highly abstract at best.

Signed,
VTX B. Xovington Xam-Xumana
January 2025

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