Technoetic Arts - Volume 11, Issue 2, 2013

In this article, we introduce the theory of archetype, which explains the connection between ancient myths and the human mind. Based on the assumption that archetypes are in the deepest level of human mind, we propose that archetypal symbolism is a kind of knowledge that supports the cognitive process for creating subjective world-view towards the physical world we live in. According to archetypal symbolism, we conducted an empirical study to identify archetypal symbols in modern movies. A new collection of movie clips was developed to represent eight essential archetypes: anima, animus, mentor, mother, shadow, hero’s departure, hero’s initiation and hero’s return, which can be used in future studies on human emotion. In order to investigate the emotions towards these archetypal symbols, we provide suggestions from the psychological point of view. The present study demonstrates how to identify symbolic meanings in movies, and indicates a new direction for future studies in psychology.

The syncretic narrative presents a unique opportunity for enabling a contrapuntal reading and analysis of information when produced through the networked model of communication. The various iterations of the syncretic narrative can be determined and outlined through a variety of diverse practices. This paper will address and propose an outline of attributes that would potentially demonstrate the construction of syncretic narrative within creative practice.

This article will describe two forthcoming art/science projects, ‘Heliosphere’ (Grant, Kin, Matthias) and ‘The Sun Project’ (Grant, Kin, Matthias). Each project materializes data from solar flare activity by tracking the solar wind across the Earth.

Using information streamed from satellites orbiting the Earth’s atmosphere and from terrestrial detectors, the Sun’s activity will be visualized and sonified at sites across the Earth. The article also describes the research context undertaken in developing the work including solar physics, anthropology the history of science.

Hanne Darboven’s numerical practice fulfils Alain Badiou’s definition of a new artistic configuration (albeit one that the philosopher does not foretell). Darboven’s writing – like that of Isidore Ducasse – subverts ordinary thinking through the ‘alien qualities’ of mathematics. Yet, in Darboven’s grammatical oeuvre, infinity emerges as a function of number’s capacity to be thought simultaneously across an unlimited number of discursive series. Her art affirms the plasticity of number by dispersing numerical series across a continuous surface. These surface effects simultaneously recall the disjunctive temporality of the Aion described by Gilles Deleuze in The Logic of Sense (2004). Finally, Darboven’s writing of number also reveals traces of broader social transformations that emerged during the 1960s in tandem with unprecedented advances in automation and computing: particularly neo-Taylorist and cybernetic approaches to the administration of workers’ time. But crises in labour practices are appropriated by Darboven as techniques of subjectivization that the artist always subverts to her own ends.

The first round about ‘The myth of ASCOT and its rival ASCO2.T: tech-noetic vs. techno-logic’ exposed the hazard in colliding obsolete disciplinary categories under outdated procedures. The orthodox jurisdiction of Ars Electronica and CERN in Collide@CERN, one of the most prominent ongoing programmes of this kind, does not eliminate the risk of missing the target by operating with categories of artists and scientists. Art is one of those disciplines with a long expired warranty, but with decay on its periphery that is turning into fertile forefront territories. Fresh temporary categories are marking and spreading over these uncharted territories and sensibly interconnecting with peripheries of other disciplines. The ex-artist that is reborn in this peripheral transdisciplinary zone can be provisionally categorized as a polyphibian for its features to be carefully studied. Like amphibians, a polyphibian can coherently transcend from one medium to another, in between and beyond the disciplines. In order to research the implications of such ‘categorical’ mutations, a readymade was submitted to the organization of Collide@CERN under the licence of R. Mutt. Namely, the readymade ASCOTT (Apparatus with Super COnducting Thought Transduction) dubbed also ASCO2.T is needed as the second-order upgrade of the existing plan for ASCOT (Apparatus with Super COnducting Toroids) invented by the scientists for CERN. As is expected from the reputation of R. Mutt’s readymades – this submission was ignored and refused in just the same quiet manner as his most notorious one. But if society would not provide salons for the refused artists (Salon des Refuses) right next to the salons under the scrutiny of academically established artists, there would be no mutations and no evolution in art. Such mutations of the artist into a ‘complex and widely distributed system’ at the dispersing fringes of decomposing art was already predicted by R. Ascott. Polyphibians are the species surviving the ripening metamorphosis of disciplines by taking refuge in the unexplored transdisciplinary buffer zone. This is the only zone where a confrontation of ASCOT technology with tech-noetics of ASCO2.T is possible. The refused unknown demands not a Salon but the Interval of Suspended Judgement. In the sequel to the first round of this debate, the Interval of Suspended Judgement will be investigated.

This article describes an artwork in progress; a digital video of synchronized visual patterns based in part on rhythmic practices that are said to reliably lead to a shifted state of consciousness. The artwork is being developed to further understand the correlation of rhythm and consciousness. The investigation is based on a comparative study of the following practices: ‘The Art of Memory’ and Raymon Llull’s thirteenth-century diagrammatic mnemonics, the Lucid Dreaming exercises developed at Stanford University and the African Yoruba rhythms of ritualized possession. Throughout history, states of extreme lucidity, whether described as ‘ah-ha’ moments or life-transforming epiphanies, have been described with striking consistently and with such frequency that, rather than extraordinary, they seem to be fundamental to the human condition. The paradoxical state of lucid dreaming has been scientifically identified at Stanford University as a state of wakeful awareness that occurs during REM sleep, while dreaming. We might anticipate in the near future, the identification of a wakeful state of lucidity, a state as distinct from normal wakeful awareness as the state of dreaming. Those who have experienced altered states of consciousness can lend unique perspective and insight into the nature of consciousness. Analysis of practices that lead to such states add further insight. From running, to rhythmic breathing, to the circular movement of pilgrims at Mecca, to circular mosh pits, rhythmic activity is prevalent among practices that are said to lead to a shifted state of consciousness. The research suggests that in addition to rhythm itself, the relationship between rhythms is a significant factor corresponding to shifted states of consciousness. The digital video artwork discussed in this article might be thought of as a visualization of such rhythmic sequencing, and its development a creative method of inquiry.

This article drafts a phenomenology of artifice, an interpretation of Human Being and Human Practice, based on the extraordinary claim that design is not the initiator of change, creation and diversity, but it is the essential humanistic quality to compensate the irresistible precession, to regulate the inevitable transformation and divergence of the World. Inspired by the Sufism conception of Human Being, the argument here relies on the theory of a gradual disclosure from the kernel of Universal Man, the complete and Perfect Man of unity and continuity, down to the local man of differences, discontinuity and diversity. Sufism presents a phenomenology of appearing, describing a process of disclosure motivated by a mystical passion ‘to be known’, where in the beginning the Being is manifested on the Universal Man, that then degraded and diversified down to the local man, its Self, his or her community and his or her instruments. The article presents the Universal Man disclosing, and the local man enclosing in three grades that are aligned in conditional priority where the former enables the later one: (1) The Proximate Potentials, (2) The Mediate Linguals and (3) The Distant Actuals. The enclosed species of those layers are introduced as the primal categories of artefacts: (a) future contemplations out of the potentials, (b) present conversations out of the linguals and (c) past constructions out of the actuals. Towards the end, the article carries the discussion on how the Ur-Disclosure brings the inevitable conditional precedence of the future over the past; the future potentials come before the linguals of now and the past actuals follow after. So, it is claimed that anything new principally deviates from the future, from something already exists potentially on the proximate grade, where the Universal Man degrades into the unitary Selves. In the conclusion, it is proposed that design processes can not disclose, create and image anything but enclose, cover and regulate the genesis. The theory of gradual disclosure from the Universal Man to the local individual mainstreams the experience of ability presenting potential ability as a universal human experience that can be actualized by proper practice.