From the field of genetics we know that changes in the genome of an organism occures either naturally - by combinations and segregations, or as a mutation, i.e. by errors in the reduplication of DNA molecules, as a results of a damage in the molecular structure of DNA. For example cased by external factors. Mutations themselves are divided into a kind where changes can be observed only in the offspring of affected individuals, while by other kind we are able to observe the mutations directly over time by special methods and with technical devices. It is the latter sort of mutation that is characterized by the fact, that it is the result of one or more ruptures in the structure of chromosomes. Since the chromosomes have significant tendence to collide with each other, a damaged part of the chromosome can join another chromosome, which will lead towards translocation.

This narrative borrowed from the field of genetics ilustrates how the structures are changing and offers a parallel narrative about current global mutations, caused not only by new media, but also by multinational corporations, which - because of their fractal nature - are generating further fragmentations of national, political, or cultural "cores", stripping them off their "information centers". Because the absence of local sites, are fragments completely and spontaneously attaching to other fragments - to stronger and larger structural cores. It might look like that not only such translocations, but even their absence is familiar to us and, for example, are part of the processes of McDonaldization, Globalization or Internetization. Isn't for example the demise of metaphysics of national taste and national veracity part of the predatory metastasis of the transnational gastronomical system of hamburgers and chips?

Although certain translocational aspects can be found within society, I believe that the very nature of new media opened the question of legitimacy to apply genetic or mechanistic translocational analogies. Because current fundamental problems are not anymore the "translocational effects", but they creates environment itself, where are changes occuring, defining a "Place". Marshall McLuhan argues that: “Media are the establishment of last phase of human extensions, when we expanded our central nervous system across the planet to such extent, that we managed to "cancel a place". Not trans-location, not cybertopia, but a-location - it is the annihilation of a "place".

Such absence of "place" is an u-topia or a non-place. U-topia is therefore not a kind of the fictitious, non-existent texture of a place, which is projected into the distant future. On the contrary: it is a deterritorialized structure (similary when under capitalism villagers were displaced from their own "territories", their own "homeland"), and of which the reality will acquire over time as a relict appearance.

To explain better the idea of U-topia, I would like to use a short historical digression: to understand the deep changes that we are currently facing, it could help to refer to the changes that occurred at the turning point between Middle Ages and Modern era. It was precisely this ideological battle for "a place": castles and churches were during the Middle Ages erected on hills not only because of better defense. They were erected on the "higher" places because they as well created the embodiments of a structural hegemony of the transcendental power. Illiterate citizens were forced to obey such hierarchical and theological systems or feelings, being forced to interpret "texts" of the architecture. Until today, for example, castles are dominating points in the landscape, as churches are still dominating spots in towns and the pilgrim's buildlings are dominating holy mountains, even their "sublimity" only recalls the previous glory of such utopian vertical and theological "places". The structure of the finite world, where things were subjected to the feudal system with its absolute order what is "above" and is "below". However, to be able to look at medieval places today, from such a universal center, they should be first de-topologized as u-topias.

The revolutionary turning point of the Middle Ages begins with disappearance of the hierarchical arrangement of "place", where the Earth is not a center of Salvation, and becomes just ordinary horizon and a grain of sand in Cosmos. The Renaissance, with its horizontal and pro-democratic stratification system - alongside with emerging of cities, trade and birth of a new class, began gradually u-topize Middle Ages, and with its demise, the hierarchical arrangement of the feudal God-centered "place", irretrievably surrendered to the infinite Pascalian space that started to terrify us.

If we look at the history of the "place", we see that it is the history itself, not only its creation and its conquest, but also the history of Virilio's "Weakening of Being" and the history of the "Aesthetics of Disappearance". Even today are we fascinated for example by abandoned megalithic buildings. They fascinate us because of their u-topical melancholy, their powerful "burdened" relationship to a non-existent place. Or as a beautiful human being in mourning dress, as the symbol of absence of somebody we loved.

In Gazeta Wyborcza article Ralf Dahrendorf stated that: “perhaps are we experiencing a radical transformation, similar to the painful transformation from feudal to capitalist society. I don't know where this process would lead us. We don't know how long our European values ​​will last." Do we not know, or are we afraid of knowledge and questioning the new era, the new power class and its instrumental environment?
Isn't the decline of the modern "place", its absence and the birth of a new u-topia a prerequisite for the birth of a new epoch?

What kind of u-topia is disappearing today in the light of the announced "ending of modern age", "the collapse of Communism", "failure of Modernity" and "hypertext of new media''? And what are the current symptoms of the impending demise of "new" era of u-topicality? Are the symptoms, for example, the centrality, universality, totality, identity, unity, homogeneity, continuity, etc, which were by Postmodern rejected? And if we would like to understand the u-topicality of our age, is it not the prerequisite to comprehend that a completely new language and a new way of thinking that radically departed the old language, while this departure should be as fundamental as Ludwig Wittgenstein said, that was transition from the alchemical system of thinking to the new chemical one?

If in 1848 Karl Marx could still accuse emerging capitalist class of its destructive bourgeois translocation: this class stolen solid "national common ground" under the feet of people and that countryside became depending on town, converted family relations into monetary ones and translocate "old local and national self-sufficiency and enclosure" into "universal mutualy dependence of nations'. What we are failing even today to describe new disappearance of 'place' of our own u-topic nature of our own languages and ways of thinking. French sociologist Marc Augé claims in his an anthropological introduction to Postmodernism aptly entitled "Non-places", that if we could define a place as identifying, as something what relates to something and something what contains a history, then "a place" that we cannot define in this way is simply a non-place. According to Augé, are for example multinational hotel chains or international airports same everywhere, and their common feature is "the abundance of events". Let's focus for a moment on this symptom: can such a non-local 'excess' offer a key to comprehend our new age?

One of traditional suject in art is the flood as an "abundance of events", or as a "non-place". In the famous representation of the biblical deluge, are birds sitting on people's heads, people are caught in the "maelstrom" of a natural event and carried away by current, because all "places" were flooded by a "flow" as a non-place, as the element of water. Here became clear the invalidity of implicit theory of place, according to which "everything has its own place". The message of Deluge is a structural message: the world of "physical places" was replaced by the world of "fluid." Liquid structures (from the Latin term liquedare - to make something fluid) are able to "liquidate" everything what was "local", everything what was culturally and politically "grounded", civilizationaly "rooted", can transform into circulation, into vortex of new events.

The metaphor of the future is nevertheless something rather abstract, something rather indefinite and hounted, as open flux, as waves in the ocean or in air. Such "Flow" is change plus change, movement plus form. What was non-solid is crushing the solid matter. In the "flow" there are no more any beings, subject in its place is no longer something stable, it begins to circulate like an orbit, was transformed into the artificial planet. The Greek word planetés means orbiting and also relates to planaomai, to wander. "Place" is replaced by "flow" - i.e. an unstable state of a non-linear environment.

Planetary power, akin to the Internet, has a "liquid" character because it is also everywhere and nowhere simultaneously. Or as a media hypertext, which does not force us to start reading in one place and finish elsewhere, as it was the case of a linear text in books. According to Vilém Flusser's theory: if the history begins with the invention of a linear writing, conceiving world as a founding story, as an event, as a process that would never repeats itself, because every single event has its own reason and its own immediate rational consequences, then the world where the defining features are created by various "currents", becomes a "post-historical world". Here governs the happenings of media hypertexts -  a challenge and a crucial critical task: how can we develop a new ability - technoimagination, which would allow us to discover hidden power of the techno-images and how can we decode them as symbols?

We should stop looking at it similary as a viewer from the fixed place of a cinema or at the video screen at home and start to perceive the world as if we were observing it from perspective of a computer interactive screen. In this constellation, it deals not only about canceling local topology of the subject-object relationship, but - as Marshall McLuhan claims - to reach last phase of human extension, where we expanded our central nervous system across the entire Planet to such extent that we have canceled not only the place, but also the time.

Europe is slowly becoming an u-topia. Only some thinkers speak about it clearly: "All ancient civilizations, including the European one, are fragments / snippets which, taken out of its context, orbiting around at the speed of light. To learn to live sensibly in such fragmented universe, to become the citizen of Internet Nation - that is the new humanitarian ideal." (0)

Modern European cities, proud and haughty, will be transformed into a mere metropolitan nodes around which people will circul in a planetary network. Man will live no more in a "place", but in the "circulation" of the orbital - in both virtual and real space. We will become above all a social satellites of a new Chaocratic regime and members of the new planetary class, or rather transformed in a wave, which with its post-democratic techno-social forces will create a social spaces for various currents – information, goods, pop-culture, capital, investments and humans. The structure of the new power will be neither vertical nor horizontal, but fluxional and liquid same time. This structure weakens and erases traditional polarities.

It does not make any sense to conquer the Winter Palace anymore, not because the power would be now "dispersed", as Michel Foucault wrote, but because the Winter Palace itself, as a representation of the "Place" of the virtual Power, melted away - it is now "floating".

The era of "places" is gradually coming to an end, alongside the constructive-political “sanitations”, such as the fall of the Bastille or the fall of Berlin Wall. "Waves" are not subordinated to politics, rather politics are dissolved by "stream" of techno-images and a victim of chaotic "privatization waves".

The contemporary conformist question is not anymore "Who you are?" or "What is your position?" but "What acceleration is your planetary flux?", starting from sex to digital information. We dont "live" anymore because we "flow".

For example, according to Jean Baudrillard, sexuality will be increasingly exposed to the pressure of the "accounting liquidity of flow and the accelerating circulation of the psychical", because sexuality and corporeality are exact replica of demands ruled by principles of market: "Capital must circulate constantly, must not stop at one point, a chain of investments and reinvestments, market values must be continuously running. This is how are values ​​realized today. And sexuality, sexual models, are actually in this sense the bodily emissions."₁

Vilém Flusser confirms this point of view, reminding us that somebody in California conducted experiments with teleorgasm, arguing that it could be more permanent than a physical orgasm. Orgasm is not a physical, but a neurophysiological experience: if nerves were irritated "telepresently", the orgasm as a fantasy will last indefinitely. The theoretician of telematics explains that in this way, one of the most common counter-arguments, that "two people cannot make love in telepresence", is losing its credibility.

Perhaps even social aspects of the topic of mass use of psychotropic substances can be understood precisely on the basis of gradual emergence of a new planetary regime, its concept of consciousness as a determined "flow" of events and experiences. Psychotropic substances are a "liquid" and relatively affordable ballot by which the planetary voter is socialized into the realm of deterministic chaos.

McLuhan's vision of technological stimulation of consciousness, which via media will expand a creative process of knowledge collectively and universally to entire human society, confirms the critical remark that "utopias are much more feasible than we previously thought". Not only that real world is u-topianized, but even utopia itself is u-topianized.

As Kostas Axelos says: Man called to govern the Earth became a planetary being wandering the Earth. From the very moment when human decided to conquer the stars, is our marching towards the end of Human not anymore guarded by the stars. The fact that our century has to deal with totalitarian and partial questions is the reason why the chalenge for planetary thinking remain so far unheeded. Planetary Man, "Universal Man" and the "Man of the World", is "something" that is not aware what a man means and in what sense is she/he a planetary being. Moreover, her/his knowledge and her/his activities throw her/him - including her/himself and her/his instruments of planetary technology - into the theoretical conquest and in the practical transformation of himself and what remains. ₆

As a study by the European Economic Commission from 1994 is suggestsing, the world consumption of various "local" commodities, such as "black gold", are declining, and the traditional local industries are facing difficult times. In planetary Chaocratic parlance: the genius of "places'' - land, mines, seas - has simply a "lower capital validity".

In his habilitation lecture, pointed Michael Bielický to the fact of a disappearance of "places" of of a traditional "establishments" of art and suggests that now a media artifact can be seen through, for example, a computer network by several thousand people simultaneously, while only a few dozen people can see it in a gallery. And isn't it answering the question why the "most visited" gallery today are the subway platforms, where a train set covered with graffiti, flashes in the "flow" of images in front of the passengers?

If we are entering the age characterized by "abundance of events", then we should no longer talk about Translocation, but also not about Globalization, about Politics, Democracy, Economy, Subject, about Culture and similar old "alchemical" concepts. Because those terms gradually became equally "u-topical" as are the terms "Elixir of life", "Quintessence" or "Philosopher's stone" in chemistry.

Human beings dwell on tiny islands of post-historical reality, in the middle of the ocean of the u-topian world and far from the island of Utopia.

<sub>1.
2. https://archive.vaclavhavel-library.org/Archive/BookCatalogue?sort=3auth...</sub>

_{3. Vodrážka, Mirek: Chaokracie z nového světa - A-vropy. Votobia, Olomouc 1997.}

_{4. Bělohradský, Václav:– Postbipolární démoni, stát a strach. Lidové noviny, 22. 3. 1996.}   

_{5. Baudrillard, Jean: O svádění. Votobia 1996, str. 47.}

_{6. Axelos, Kosta:  Kdo je to planetární člověk? in Filosofický časopis 3/1994, str. 481-486.}

_{Presented during the International symposium on new media and their history in the countries of the former Eastern Bloc.
26-27 February 1999, the National Gallery in Prague, Veletržní palác accompanied the exhibition Translocation/New Media Art (Generali Foundation, Vienna, 27 January – 11 April 1999.
VVP AVU, in cooperation with Detail magazine and Springerin, organized the international symposium Absence and Translocation, about new media in general and their history in the countries of the former Eastern Bloc. The entire project could be the first European Union grant that was used in the field of art in the Czech Republic. The symposium opened the discourse on new media at a high international level and transcended the narrow boundaries of peripheral contexts. The lectures mainly emphasized social and political relations, which became the unifying element of the discussions. The symposium sparked a series of international presentations and lectures at the National Gallery in the Trade Fair Palace, the Vienna University of Applied Arts (Meisterklasse fur Mediengestaltung) and other foreign institutions.}

_{1999 / Generali Foundation, Vienna, 27.1. – 11/04/1999}

_{The Czech part was implemented in cooperation with VVP AVU.}

_{Group exhibition of collections of samizdat documents as authentic records of the art scene of Eastern Europe. Part of the Translocation/New Media Art project supported by the EU was an exhibition of the same name focused on the countries of the former Eastern Bloc (Poland, Czech Republic, Bulgaria, Romania, Croatia and Slovenia), presented collections of materials created mostly unofficially, i.e. video archives, slide archives and samizdat. Eastern European archives have been highly regarded as an authentic treatment of local scenes and hitherto unknown parts of European visual culture. The exhibition marked a shift towards a trans-regional confrontation and a change of perspective from which the so-called Eastern European projects had been seen until now.}

_{The Czech part of the exhibition was represented by a selection from samizdat publications related to visual art (a total of 26 publications were exhibited) and a further edited set of 200 slides from unofficial events - Terezín 1980, Most 1981-2, Malostranské Dvorky 1981, Setkání, tennis courts Sparta 1982, Chmelnice Symposium - Mutějovice 1983, Confrontation 1984-87. The selected slide projections were processed in the media workshop in Vienna within the 45 minutes recording (Ruth Maurer, Jiří Ševčík).}