For an object so elemental in its composition--clay, iron, copper and asphalt--the Baghdad Battery becomes more inscrutable and occult upon closer consideration. Proffered by some as evidence of an untold technological prehistory or extraterrestrial contact, the out-of-place artifact (OOP art) has survived Mongol hordes, secret testing, and the devastation of the Iraq war (only to disappear under mysterious circumstances--and resurface in the most unlikely of hands). Unlike other such artifacts, the Baghdad Battery refuses to answer questions about our past, instead forcing us into further uncertainty. Despite its archaic form, the battery shares an unsettling out-of-place-ness with the clandestine machinery of advanced military technology, estimated to be 40 years ahead of our own. Infected with this feeling of out-of-place-ness, Hoax Theory offers a visual investigation.
Part think-tank, part art collective, part hoax. Through independent research, mis/dis/information campaigns, and multimedia art installations, Hoax Theory strives to mimic the bards and shamans of antiquity as a conduit for New TruthsTM. To Hoax Theory, anonymity and plurality comes natural. Ipseity has gone the way of the auteur and, like a liquid crystal display (LCD), an insect hive, or a machine learning, the Hoax Theory contains multitudes.