Technoetic Arts - Volume 10, Issue 2-3, 2012

This article discusses four different case studies related to complex technological works that were created through international collaborations.The Exquisite Mechanism of Shivers/Ex.MechRed Dice/Des ChiffréCom↔SpaceA China of Many SensesThe article discusses elements of language, culture, technological creation and process.

I substantiate the argument that lead me to believe very strongly that we need to find new ways for the arts and sciences to collaborate, and to create a networked culture that brings the arts and humanities into interaction with the sciences and engineering. Our world faces many problems, on all scales, and we must use all the different approaches to create a world culture that is sustainable and respects and nurtures the differing world-views of each community. We have no choice but to forge new art–science collaborations.

For hundreds of millions of years before the recent emergence of reason, evolution elaborated a multiplicity of ways of knowing through feelings, which remain valid today. Each way of knowing, including reason, is mediated by a ‘mental organ’ which is a population of neurons bearing a particular neurotransmitter receptor (e.g. serotonin-7, histamine-1, alpha-2C). Each mental organ adds spice to our lives. Reason coevolved with a pre-existing affective domain, and is designed to be informed by affective input. When reason reigns at the cost of losing touch with the other ways of knowing, we retain the ability to manipulate nature, but we do not understand its essence and cannot make wise judgements.

The Homeobox (Hox) genes essentially define body regions in all animals including humans – responsible for determining two arms, two legs, one nose and so on. This gene is shared by all living beings – from the snail to the elephant to humans – and it can now be manipulated into transforming certain parts of the body into others. We have observed such transformations, such as that of an amputated antenna into a limb, as far back as 1901, termed neomorphosis (Morgan 1901), and it has only recently re-emerged as an area of scientific study. Spontaneous transformations and induced regenerations are fascinating research topics that are fast becoming a reality; some scientists are postulating that it may be possible that the hox gene could be central to limb regeneration in the future. This article will present the Hox Zodiac project, which attempts to introduce this subject and push the ideas further into speculation of mutation (i.e. humans and animals) into creatures that may resemble the mythical beings we know as fiction. The starting point of this wheel of life is the Chinese zodiac, consisting of twelve animals that are associated with humans. In the process of development, it became interesting to note that half of the animals on the wheel are those used in the lab – rat, pig, monkey, dog, sheep and rabbit. The ox, tiger, horse, snake and rooster are considered mythical and the dragon could easily fall into the category of a genetically modified creature that is to re-emerge in the future. Since medical and scientific testing on humans is strictly forbidden, scientists have virtually shifted to animals for all such studies. Thus, everything that is used on our bodies and minds is directly related to the animal kingdom. The pig heart and rat mind are symbols for the paradox of science that uses animals in ways that are at once disconnected while subconsciously connecting us more than ever by using research results in medical and food products we consume. Although the controversy of using animals in labs is widely known and often violently opposed, the artist in the lab questions how this research impacts our collective consciousness, especially with the growing trend of brain-computer interfaces and particularly synthetic telepathy. This relationship of the human to the metaphorical meaning of the animal kingdom brought to mind Jung’s research on metaphors, symbolism and archetypes, which became central to the Hox Zodiac.

The behaviour of matter and the affect of gravity, whether real or hypothetical, have often acted as a source for imaginative speculation. In science fiction many of these ideas have been discussed in relation to human consciousness. This article considers the literary work of Stanislaw Lem and Italo Calvino, both of whom employ the metaphor of the mutability of matter to explore affect in other worlds. Extending the laws of physics by placing narratives in other, stranger worlds enables the writer to experiment with the interface or threshold between substance and thought. Calvino moulds and structures the matter of the Universe to human form and thought, whereas in Solaris (Stanislaw Lem, 1970), Lem creates a cold and almost incomprehensible Universe outside of the limits of human intellect or consciousness.

One of the important modernist terms – flexibility – offers the introduction of time and of the unknown as parameters in design. Yet the development of flexibility in modern architecture shows also the ambivalent relationship between architecture and the user – the objective of incorporating flexibility in archi-tecture. The span between introducing the freedom of choice and expression and the reality of totally controlled spaces and movements shows the range of interpretations of this subject. By looking at the strategies and evolution of flexibility in architecture one can project possible problems and frictions for the new discipline – ubiquitous computing. Both flexible architecture and the ubiquitous house are devoted to space, time and technology, and intend to give the user the maximum of possibilities inside the house. What are the mistakes that some of the development in flexible architecture has made, that ubiquitous computing might learn from, especially in its relation to the user?

Maurits Cornelis Escher’s 1938 lithograph, Cycle, illustrates what mathematical physicist Roger Penrose calls ‘impossible objects’. The illusion of three-dimensionality, the innovative use of tessellation, and the incorporation of traditionally figurative elements induce the viewer to perceive the lithographic print as depicting a visually plausible reality built on the deconstructive metamorphosis of man into cube. It is Escher’s ability to paradoxically combine the radical oppositions of man and cube, landscape and geometric abstraction into an apparently harmonious composition where shapes repeat with subtle variation and almost imperceptibly transition into radically different shapes that I want to use as a visual paradigm for conceptualizing the shifts in human consciousness in the digital age. Roger Penrose, path-breaking theorist of consciousness as a physical but non-computational process, was inspired by and inspired Escher. Penrose’s provisional concepts of consciousness, time and space can be visually compared to Escher’s earlier man-cube renderings, where each of these individual design elements allows the transition to another shape. In other words, Penrose’s theories, like Escher’s design concepts, illustrate a moment of transition in consciousness theory. As in Escher’s Cycle, the individual elements are being continually redefined, reshaped and revealed. Each may be a unique distortion of the previous, but this does not mean that it is disconnected or independent of the final outcome. These distortions are transitional elements that lead us visually to the other side of the composition. Radical transformations and developing connectedness in the boundaries between art, technology and science function like the individual elements in Escher’s Cycle. As we try to define the shifts in human consciousness occurring in the digital age, visually speaking, we are focusing on only one element right in the middle of an Escher metamorphosis, unable to see exactly how this element will be part of the completed design. This thought can be both frightening and liberating: frightening because we humans are used to relying on boundaries and predictable outcomes to feel a sense of control, liberating because anything and everything is possible and the changes will occur naturally as part of the transition. If Escher teaches us anything, it is that each piece in the meta-morphosis is needed to complete the big picture.

The vast visual coverage of the Boxer Uprising in northern China that ended with foreigners traipsing through the Forbidden City in Beijing reflects both the richly innovative image technology at the turn of the century and the international interest in events that involved many of the world’s most powerful nations. Historians and students who seek to understand the incident through the innovative technology of today can, for the first time, access primary source images in large numbers malleably displayed in the digital environment. The sheer volume of images collected in one place offers powerful new insights into a history already broadly covered in analytical texts and first-person accounts. One qualitative difference from previous histories is the emergence of subjective points of view that can be conveyed in multidimensional models that juxtapose experiential recordings of the day. Harnessing the tension of contrasting viewpoints – who knew what when – enables today’s learners to see through the lenses of past participants whose understanding was limited by location, communications and, one must remember, by not knowing the outcome. Those who were besieged in the Foreign Legations did not know if they would survive; soldiers and rebels on the road to Beijing knew only the difficulties of the march; illustrations in newspaper reports overseas were coloured by politics and both national and international rivalries. Digital visual representations have the possibility of recreating the collision of experiences that allow users to move between personal records and public reporting from the time to gain a knowledge that is unmitigated by an author’s text-based presentation and conclusions. The result is as much a revolution in perception of historical events – perception-based learning – as it is in information about these events.

Can we find different means of communicative visual solutions to aid societies in the development of multicultural global communities? This means not revolving only around a particular language or even human language, but rather the concept and structure of communication. This transforms any kind of sign, body gesture or visual element into a method of communication, not simple phenomena. The aim of the research is to use media art and new technology to establish a better (wide) visual communicative language in multicultural societies and provide a solid bridge between east and west, through in-depth visual/technological experimentation, seeking a transcultural visual solution to the problem of visual integration. Can any perceivable phenomenon become a conveyor of meaning? While language is based very much on common agreements, the way each of us responds to a message can be entirely different. Communication therefore creates diversity from uniformity: the idea of mixing setups of humans and machines (robots, computers, etc.) that are somehow able to communicate. The communication would give rise to some sort of choreography of movements that is synchronized because of the communication but diverse because of different responses to the communication.

The 360° medium, an immersive dome-based video projection environment (immersive dome environment (IDE)) also called ‘fulldome’, is often seen as an old concept of a traditional planetarium setting. This article invites the reader to look at it as a unique, hybrid media format, which opens new ways of perception.

The diversity of designs and techniques used to build environments around the human perceptual system in order to immerse people in complex synthetic experiences has created a variety of approaches. Some of the experiences may immerse the person in structures that cannot be physically accessed otherwise because of scale or time. Others may bring together different phenomena that do not normally happen simultaneously. In this article I attempt to categorize the kinds of experiences that are being built around our bodies and minds utilizing devices that extend our senses and cognitive structures, thus mediating the way we experience and think to better understand the world around us.

The article illustrates an alternative topology by taking advantage of the possibilities for new forms of perception in the realm of online virtual worlds. It is based on the outcomes of the ‘Noetic Grace’ project that was held in Linden Lab’s Second Life™ (SL) platform as a part of Yoshikaze project, supported form Humlab, Umeå University. During three months of virtual residency in Yoshikaze studio, the author experimented with different kinds of spatiotemporal awareness formed from the notions of virtuality as expressed during the times of late antiquity. Saint John of Damascus (c. 676–749) was speaking about ‘virtual vision’ when he referred to the concept of ‘noetic grace’. Such an approach raises some fundamental questions about whether virtual worlds can have the potential to alter visual mechanisms in the whole spectrum of imagery; both in its creation as well as in its vision. Technologies of computing can be considered as the most outstanding practice of Descartes’ theories. However even if Cartesian resonance can be regarded as an abstract Logos and as such it is clearly distinguished from the class of the world, its principal effect to western thought was that of its dualism as a deterministic organization. Hence, Euclidian plane with a chosen Cartesian system, the so-called Cartesian plane, became the standard spatial environment. In the dual process model of thinking the forward and backward reasoning can be used to express Euclidian transformations in which the points are detached. Their interaction exists solely to define themselves in relation to the other, rather than to embed themselves in an aggregate space. Nevertheless, scientific progress has demonstrated a source that spurts many kinds of phenomena that are by far distinct from those of a systematic space. Anisotropic and heterogeneous topologies, magnetic flux, non-linear, dynamic systems and emergence are some of the findings that can alter the whole spectrum of human awareness. Consequently, in order to create a being-to-be into virtual worlds, one has to overcome the notion of single-self objectiveness and its systematic space and act as a potential entity released from any references that may set barriers to a formation of a different perception and imagery.

In this article I will relate the kinetic sculpture Hylozoic Ground by architect Phillip Beesley and a collaborative group to theoretical and philosophical studies concerning the human subject. I will ask the deep philosophical question what is life? with the expectancy of a close relationship between ‘life’ and ‘consciousness’. Under inspiration from Yair Neuman and Søren Brier, I operate with the idea that ‘life’ and ‘consciousness’ would be directly related to communication processes in the body of both physically measurable and physically immeasurable kinds. And that such communication processes are best described by modelling a hierarchy of qualitatively different, but co-dependent kinds of communication.

The past is not dead. In fact, it’s not even past.(William Faulkner)This article investigates ‘transcultural tendencies’ and ‘transmedial transaction’ between the Sasanian, the last dynasty to rule the Persian plateau, and the Muslims who conquered this land. These transactions and exchanges took place during the seventh century in the Ērānshahr distributing lots of different features, cultures, languages, religions, sciences and artistic achievements by the Persian people and sharing them with Muslim territories from the East to the West. The article also investigates the Shu’ubiyya parties, which were a non-Arab Muslim response to the privileged status of Arabs within them that would later become Sufism. The protest approach travelled in its haptic spaces from ancient Iranian times to the present day, carrying the same habits and cultures, and among protesters characterizes contemporary artists in particular. In my study, I have classified them and decoded their artistic practices. Through this article, I investigate them by looking to contemporary art practices, which contain protest language, and identifying common ground with Sufism ideology. I bring them into the light, through a non-Islamic perspective that carries a lot of truth and spirituality, which I found both Iranian people and the global culture at large need to be reacquainted with. People need to understand how and why this perspective matters in the modern world, as well as the ways in which it is relevant. How does or would it affect the world of Internet, new media, the mix of old and new media in today’s and tomorrow’s cultures? The Sasanian Empire fell to Arab Muslims, and consequently the ‘transcultural tendencies’ took place around the beginning of the seventh century (AD 628) with the death of the last great Sassanid kings of Shahanshah Khusroparviz. I wish to take up the challenge of understanding more of Iranian history at the moment of transition that occurred at the end of the Sassanid epoch. This era (historical–cultural period) can be said to have characterized the beginning of the Islamic period. The question is how did this newborn culture, an outgrowth of this ‘transactive’ movement, spread through contemporary Iranian lifestyle?

As an artist I am interested in creative states of consciousness and the direct expression of altered states of consciousness in forms such as musical improvisation and the automatic writings and drawings of the Surrealist Artists. I have been investigating a particular spectrum of altered states characterized by an enhanced experience where out-of-the-ordinary information is accessed or an enhanced ability is realized beyond what would ordinarily be possible. Within this realm we would find the ‘peak performance’ state of athletes and musicians, as well as a state of intellectual inspiration where a complex problem is solved and also the phenomenon of premonition. It is related to the ‘flow state’ as described in Flow, The Psychology of Optimal Experience (Mihályi Csíkszentmihályi, 1990) and the experience of the American clairvoyant Edgar Cayce who resolved complex medical ailments when in a self-induced hypnotic trance. Additional examples include Haitian Vodou ritualized possession and all experiences where healing and foretelling of the future takes place through a communion with spirits. It is a broad spectrum that has been described in various ways throughout history and within all cultures. But though the descriptions vary, this spectrum of consciousness shares the common characteristic of accessing extraordinary information or demonstrating extraordinary skill or ability. This article is an attempt to help clarify and define this particular spectrum of consciousness.