Technoetic Arts - Volume 11, Issue 1, 2013

The copious literature on the work of artist Robert Smithson has made very little of the many parallels between the inventor of earthworks and the nineteenth-century author of pataphysics, despite the established fact that the artist read and made notes from Alfred Jarry’s Dr. Faustroll (1898) while working on the Spiral Jetty in 1970, which undoubtedly influenced the subsequent Broken Circle &/ Spiral Hill (1971, Emmen). Given the insightful literature reassessing Jarry’s influence on twentieth-century artists including Marcel Duchamp, John Cage and Rodney Graham, a consideration of Smithson’s spiral earthworks in connection with Jarry is long overdue. In contrast to prevailing art research practices today, Smithson’s work is much more aligned with the pataphysical pursuit of ‘imaginary solutions’ that examine ‘the laws governing exceptions’ and describe ‘a universe which can be – and perhaps should be – envisaged in place of the traditional one’. Art historian Jack Burnham’s interprets Smithson’s earthworks as a ‘time-bound web of man-nature interactions … didactic exercises … [that] show a desperate need for environmental sensibility’. In this respect, the work of both Jarry and Smithson can provide a useful corrective to an overly rationalistic approach to art research, offering the field – and contemporary art in general – potentially valuable tools for forms of practice that challenge rather than adopt conventional academic models and epistemological constructs.

In this article, we discuss a project that was co-authored by a storyteller and a visual artist in the metaverse of Second Life in 2009. The aim of the project was to create a storytelling space that would be used by its visitors to create their own unique narratives, as well as their own original performances, all of which would take their trajectories by being immersed in a virtual architecture/landscape, through avatar costumes and a substantial library of dramatic poses and animations that were put at their disposal by the authors at the location of the event. The project wove together several concepts: these are Roy Ascott’s tenets of ‘distributed authorship’ and ‘participatory poesis’, which were brought together with a term that was coined by Axel Bruns to describe novel collaborative electronic forms of creative output in which the roles of the ‘user’ and the ‘producer’ have become merged, manifesting as a novel type of online behaviour that the author defines as ‘Produsage’. These primary concepts were substantiated by research that combined the fields of performance art, storytelling, memory arts and the usage of mnemonic devices, including the Renaissance notion of the ‘memory theatre’ with Cyberpsychology, particularly in relation to avatar studies.

Cybernetic Bacteria is an ongoing transdisciplinary investigation that brings together art, philosophy, microbiology and digital technology to examine the relationship of the emerging science of bacterial communication to our own digital communications networks, looking in particular at ‘packet data’ and bacterial quorum sensing. The project seeks to compare philosophical notions of the sublime with a kind of bacterial sublime, demonstrating the greater complexity of the interactions taking place at a microscopic level, when compared to human communication technologies such as the World Wide Web (with particular focus on scale-free networks). The first artwork in the series employed a clear plastic tube of liquid agar jelly planted into earth to allow the soil bacteria beneath to grow upwards and become visible. A total of 100 µL of Homoserine Lactone, a hormone used by bacteria for quorum sensing (a form of bacterial communication), was then added by the artist as part of a performance lecture, with her in effect saying: ‘I’m here’ to the bacteria below. The microbes that have been communicated to then pass the signal on to their neighbours and so on. In theory this enables the signal to travel around the planet. However, the main issue with this work is one of Hermeneutics; the bacteria, which receive the communication, will not identify the artist as human – simply as another (albeit very large) bacterium. The project has subsequently evolved into a multiple screen digital artwork showing network traffic taking place in real time (web traffic, RFID and Bluetooth), a film of bacterial communication in progress (using two strains of genetically modified bacteria) and an interactive conceptualisation of the data from both sources generated using artificial life. The project continues.

This critical analysis is to addresses the implications about emerging design approaches in Human Computing Interfaces (HCI), and Human Interface Devices (HID). A reflection about custom-built interfaces invigorates a wider discussion about the meaningful contexts in which their use is activated. The specific aim is to re-imagine, redefine and explore the potentiality and limitations of electronic performance tools, namely, how the choice of this tool and interface nearly always gives rise to new situations that must be tackled. Therefore, addressing the material aesthetics of performance tools used in contemporary electronic performance, by artists who engage with such technologies, this article aims to critically analyse and historically place artistic engagement with tools and interfaces in contemporary performance settings and to indicate where there is room for new design approaches and hence new (and forgotten) modes of engagement to unfold. To amplify the relationship between performer and the spectator when using the emerging technologies of real-time performance tools, I refer to ‘Ode to Paraphernalia’, a set of self-crafted electronic performance tools and a performance. This project opens a pathway for a larger proposal that asks: what are the ways in which we can engineer interfaces that validate the circulation of subjugated knowledges in meaningful sets and settings?

Retrieval database artwork, unlike other artwork, does not present fixed, preset and stable contents; it is formed as external data are retrieved from different sociocultural contexts and combined into the artworks’ content. This article aims to address the intertextual relationships between retrieval database artworks and the mass-produced texts from which the database artworks retrieve their data. After briefly discussing the difference between retrieval database artwork and participatory database artwork, and exploring the main concept of intertextuality, we address why intertextuality is essential and beneficial in understanding retrieval database artworks. Two selected works are used to demonstrate that, as the artwork is executed, the meanings and relationships of retrieval database artwork are ever-changing, and the authorship is constantly shifting due to the viewer’s participation. Shifting authorship in retrieval database artwork is caused by the daily mass cultural production of original text, which might or might not be retrieved by the database to be incorporated into the artwork. We conclude that retrieval database artworks cannot separate themselves from mass data. The dynamic intertextual relationships between the work and its ongoing retrieval of content from other cultural productions, as well as the viewers’ contributions to the work, simultaneously shape and reshape the work and its authorship.

An interactive collaborative drawing ‘machine’ designed on the concept of a neural network, allowing participants to experience a shared creative process, using the principles of open-source and social networked communication through an analogue string system. The underlying concept of the String Neural Network is to introduce participants to the idea of collaborative-shared drawing practice, as a dispersed collective that alludes to Roland Barthes The Death of the Author (1967) whereby each participant plays an equal role as both viewer and artist. Played out like a surrealist Exquisite Corpse game of consequences or as a piece of Haiku poetry, the drawing participants contribute marks, signs and signifiers to an open-content drawing, akin to the development of open-source software. The string network consists of five drawing table ‘nodes’ within a room/studio space measuring eight by eight metres square. Each node is linked to the other four via pulleys and washing lines, making it possible to peg a sheet of A4 paper to a line and winch it across to any one of the other nodes. The network system uses ten string connections between the five drawing tables, creating a pentagram within a pentagon neural network design. Representing the interconnected synapses and neurons of the brain, the role of each participant is that of cause and effect. A single instruction initiates a series of consequences that unfold in drawings, marks and patterns that are created whilst being hoisted simultaneously across the room in quick succession. The Neural String Network project was first set up in March 2012 to coincide with ‘DecodeRecode’, a telematic art project undertaken by students at MediaCityUK Salford University, as part of the centenary celebration of Alan Turing. Each participating student was given a single word drawn from the Turing theme, such as machine, brain, code and apple that were interpreted and communicated as a drawing by a collective consciousness.

Technoscience is increasingly present in our daily lives, establishing new social rules and patterns of communication and interaction in a physical space, which implements electronic devices and telematic systems in its design. In the race for scientific progress, the goal is making man a God, like Nietzsche’s Superman, without determining how the new human morphology will be fitted. This paradigm is treated by artists who warn of the possible fate of humanity while the technoscientific, as if he or she was Prometheus, dares to defy the laws of nature. Art exposes the actual course of science, and some artists complain that the false promises of scientific discourse, which is dominated by male vision, fail to be aware of the impossibility that technology is going to improve the moral dimension of human being. Some artists say that the science sermon does not deal with humanity and that the building of our future is merely phallocentric, an excessive anthropocentric vision.