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- Volume 13, Issue 1, 2015
Technoetic Arts - Volume 13, Issue 1-2, 2015
Volume 13, Issue 1-2, 2015
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The complexification of self: At the crossroads of concepts of flux and ‘living at risk’
More LessAbstractThe idea of considering the living as an element of risk-taking was first inspired by my interest in existentialist approaches in different fields – literature, philosophy, the performing arts, etc. – as well as in the experimental approach Roy Ascott proposes between the arts and technology. Ascott (2003b: 150) advances an interpretation of change that is of particular interest to me: ‘the act of changing becomes a vital part of the total aesthetic experience of the participant’. In his article ‘Biophotonic flux: Bridging virtual and vegetal realities’, Ascott (2003a) speaks of a digital paradigm whose ‘systems and processes become increasingly ubiquitous and invisible, [while provoking] many artists [to] seek new horizons – in the biological sciences, nanotechnology, and the study of consciousness, leading to the emergence of a “moistmedia” (incorporating digitally dry and biologically wet systems)’. From the outset, Ascott (2003b: 123) positions his concept of moistmedia within a dynamic of experimentation, stating ‘I use the word experimental to mean making an action the outcome of which is not foreseen’. I consider these ideas as being fundamental for my own research and for this article, in which I propose a re-evaluation of the relationship between the moving body and technology; more specifically, I suggest focusing on recent perspectives in the performing arts which inscribe new manifestations and dynamics of cross-pollination between the somatic and technology. Thus, my latest research-creation projects led me to the conception and experimentation of a new aesthetic paradigm, which takes the form of a proposition of collective physical and mediated bodies. My interest in conducting creative research involving technology concerns the fact it reveals previously unknown aspects of the body. This article therefore reflects on the experience and conception of the performative body in the link it entertains with technology; an evolutive relationship from which emerges a complexification of self. To do so, I will highlight sensorial and perceptual phenomena and strategies related to the transformation of the body through its contact with technology – lived as a physicality – and subjective experience. This article also introduces the idea of how a culture of flux – reality in flux and constant transformation – is responsible for the emergence of new performative models, and how the dynamics of a loss of bearings and personal risk are essential with respect to this emergence.
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The sensitive knowledge of dance
More LessAbstractIn this article I will discuss the dancer’s physical potential and the sensitive knowledge (‘la connaissance sensible’) that emerges from dance practice. For this, I take Lévi-Strauss’ (2010) theory of the ‘savage mind’ as a reference. This theory is important to understand how the discipline of dance does not need to be justified through modern science (Lévi-Strauss 2010). It is understood that dance operates from sensitive knowledge, while modern science is expressed through the intelligible. I will point out how the dancer operates the sensitive, or dancing, thought, stressing that this type of knowledge is created through interest in how to use it and not through interest in how it serves, or what it means. I will then explain how, through sensitive knowledge, dancers propose new challenges during their aesthetic training in order to develop new body technologies, thereby increasing their expressive potential. For this, dancers need to develop body acuity. In other words, I will discuss the processes that dancers use to transform the perception of the self and of the world through danced gestures. In this process, the dancer is always looking for new challenges; he/she constantly deals with new risks in order to discover new knowledge. I will also discuss the problem that dance faces in traditional academia, which disregards sensitive knowledge and values scientific knowledge.
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Mind at risk
More LessAbstractA virtually infinite array of new discoveries are bringing increasingly evident transformations to all that we do, how we live, how all of us relate to each other, ourselves and the world. To think about this new time, it is necessary to experience the vertigo of placing our mind at risk. We are immersed in a comparatively new context of existence. A new humanity is being built, and it will thus represent a new society and a unique conception of what a person is. We have established ourselves as the cities we pass through daily, as sets of flows, relations of power and strengths. Like a city, we are also information networks; power fields constantly brought into play, as we connect with spaces in an imbricated and interdependent way. We are a kind of species that, in face of its desire, is capable of putting this very existence at risk; of suicidal artists, kamikazes, who risk themselves and the planet. What is the specificity of this species? What is the possible (psycho)analysis? The aim of this article is to present and articulate the current changes and the absolute artificialism of our species in the transformation of its corporeity that devours and appropriates whatever presents itself, and which produces means and prostheses for the compulsive realization of our fantasies; new realities that increasingly appear on the horizon and affect our daily lives. The mind at risk is the state that enables the craziness of any act of creation.
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The world in my body, the ‘other’ in my soul: Living at risk in a moistmedia art ecology
More LessAbstractThe main notion of this article is that the blurring of the limits between offline and online dimensions of knowledge and experience, in addition to the manipulation of genes, neurons, atoms and bits, is dissolving the distinction between subjectivism (i.e. idealism) and materialism (i.e. objectivism and realism). As a consequence, in the moistmedia (from Ascott) ecology in which we are increasingly immersed, a radical kind of experience of matter, time, space and self is emerging. In this form of experience, the blending of subjectivist and materialist approaches help in overcoming the classical Cartesian polarity: we feel part of an extended reality, and we feel this extended reality in ourselves by combining bodies, points of view and multiple senses with digital layers of everything.
The article proposes these research questions: Which are the main factors that shape the change toward a moistmedia ecology resulting from the impact of the manipulation of genes, neurons, bits and atoms? Which transformation is being shaped in relation to the previous model of experience? What are the features of the new forms of materiality, sensitivity and action? How artists are putting themselves at risk in the moistmedia ecology? The hypothesis is that a hybrid kind of interval is opening between different layers of reality: analogue versus digital; nature versus culture; here versus there; past versus future; I versus others; and human versus non-human. In this recombination process, a third dimension of reality – that I call ‘radical reality’ – emerges in the moistmedia ecology. This article will analyse the radical experience (Wilson) in moistmedia environments by crossing the five dimensions (matter, space, time, identity and action) with the practices of manipulation of genes, atoms and bits using examples from art and design. This crossing shows the basic dimensions and sub-dimensions of the ‘Model of Radical Experience’ to reveal the nature of this third dimension between subjectivism and materialism, which is explored by artists who put themselves at risk in the turbulent zone between the physical and the digital.
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Technoetic space at risk: The development of a hybrid ecology framework for the spatial (re)configuration of the human condition
More LessAbstractHybrid techniques and perceptual technologies that merge the physical and the virtual dimensions of reality are generating a conceptual and experiential working space to reconfigure relationships between the perceiver and the perceived. We are entering a new perceptual paradigm where form, content, and context are merging, generating radical new types of spatial construction.
Through the development of hybrid spatial technologies we can now hack the individual’s sense of space and relationship to the world (transforming the subject/object relationship). How can we develop and use emerging spatial technologies to reconfigure spatial perception? Can we adapt and transform the dominant perceptive regimen, which is still based on the Cartesian split (subject-object separation)? We continue to see ourselves as separated from the environment and still need to digest the new changes brought about by hybrid techniques and methodologies that are shaping these new dimensions of space. How adaptable is our perception? The ability to alter our understanding of space provides us with a new form of spatial (self) control; sub-merging identities. What are the biological risks? What are the limits of stretching the perceptive range of the body?
This article will examine these questions as an opportunity to humanise technology and create a ‘Human Centric Hybrid Literacy’. We will examine which technologies, techniques and navigation methodologies are being used by artists, technologists and designers to enable this new era of spatial augmentation and perceptual adaptation. Some examples include macroscopic navigation, 360 degree vision, new types of perspective (including third and fourth person perspectives) and reverse engineering.
The role that hybrid space plays in the construction and transformation of perception through the practice of context engineering will be examined. Context engineering (Smith, 2013) is understood as an ‘intermediality’ practice for the engagement and augmentation of perception; giving us control over our senses, allowing us to adjust them in real time. Context engineering creates a new economy where we focus less on transforming content (as the primary activity), and more on how we can make our own perception the ‘content’.
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The drizzly identity: A dissolution of the body as a solution of life
More LessAbstractRegenerative medicine requires living cells in order for it to work. The process involves a biologist entering the body, cutting into its flesh and taking away a part of it in order to return with an improvement. In other words, to optimize the body it first needs to be deconstructed. This process is demonstrated in the project ‘Hair in Vitro’. However, the fact that it is difficult to reconcile oneself with such a ‘disfigurement’ testifies to a certain sacredness surrounding the body in western culture, where its wholeness and completeness is still fundamental. Nevertheless, could one argue for the idea of an intimate, individual body; of an identity that is preponderantly distinguished and separated from the other world (especially if a human is to be acknowledged as being immersed in the world); where things reciprocally belong to each other in such a manner that they constitute the same flesh of the world?
The genetic profile of an individual is actually a much more complex assemblage than a profile of just one species. Micro-organisms not only live as components of the body, but also traverse from it into the environment, and vice versa. An exchange of living substances is constantly taking place. The horny layer of the skin is thus something of a vibrant exchange market; it is a region of the dissolution of identity: interiority extends out to exteriority and exteriority goes into interiority. Concepts of interiority and exteriority become senseless here: the body and the environment are intertwined; the body disperses into the milieu, and the milieu spreads onto and into the body. With the deconstruction of the notions of the boundaries of the body and the body as a closed distinguished substance, the idea of the wholeness of the organism has lost a great deal of sense. The body should not just be considered as a multitude, but its notion should denote openness, exchangeability, traversabilty and permeability. Its structure is, in short, rhizomatic – the body is a rhizome.
A body is a temporary locus of a particular organization of life. It is not a closed entity, but rather a drizzling identity. The delimitation of the body is constructed, and therefore where it ends up is drawn arbitrarily. Regenerative medicine derives from the notion of a body as a composition: a dissembling and re-assembling of bodies, as well as a restarting, delaying and slowing down of life processes. A performative installation with growing human organs such as ‘Initiation’ discloses this notion, positioning the observer into the dispersed body. A body dissolved in a milieu – a fertile yard – where human remains are given suitable living conditions for the afterlife; a platform of life where the life that once belonged to the body has emancipated itself. It thus becomes the living other of the body with which the self gets confronted. However, this life is also the body’s own identity.
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Biology as a new media for art: An art research endeavour
More LessAbstractThroughout art history, numerous artists have explored connections to science. In the society of today, the relationship between art and biology has been acquiring special visibility. Moreover, the current importance given to science and technology by today’s public opinion directly drives an increased awareness about the relationship between art and science. The public has been eagerly following breakthroughs in scientific research, albeit with mixed feelings: simultaneously awe, hope and fear for its potential misuse. Such awareness about biological sciences and biotechnology has been having an increasing influence over artists, where the artist is no longer a mere observer of the scientific research and not quite a science researcher, but rather an art researcher. This particular position has led to the development of strategies to promote the exploration of possibilities deriving from a cross-talk between artists and scientists. This is a new art practice, based on a ‘risk-based’ situation; a timeless research strategy to develop new methods of practice, new media and new ways to manipulate materials for artistic expression. This is art research.
During the twentieth century, the key scientific advances – such as the discovery of the DNA structure, in vitro fertilization, transgenesis or the sequencing of the human genome (in the twenty-first century) – were perceived by society in diverse ways. The progressive incorporation of those concepts by society itself led to a point where biology and the medical sciences became the most promising areas of science. It is therefore not surprising that those same scientific disciplines have marked the development of the artistic discourse in a tremendous fashion, as well as also influencing all other areas of the contemporary society. Furthermore, these artworks explore new media, described as ‘moist’ in that they integrate dry in silico computer components with wet living biological systems.
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Technoaesthesis: The morning after the deluge (of technical images) – thoughts on perception, art and technology in our moistmedia times
More LessAbstractThe article aims to approach the concept of moistmedia and the role of art practices in contemporary culture by combining ideas about perception, technology and art, through different authors like media theorist Marshall McLuhan, philosophers Maurice Merleau-Ponty, Martin Heidegger and Vilém Flusser, and anthopologists such as Constance Classen and David Howes. Thus, if we can understand perception as the genesis of sense and meaning (Merleau-Ponty), which is also culturally shaped (Classen, Howes), understanding the very nature of technology demands an understanding of the modes of perception from which it has emerged. Being able to develop art propositions which may be relevant to our moistmedia times demands an understanding of the power artworks may still have for challenging technologically shaped cultural patterns of perception, in such a way as to foster new modes of consciousness, living at risk in a world of ever-present instability.
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The fluid coevolution of humans and technologies
More LessAbstractIn this era of terabytes and big data, the field of digital culture and art is witnessing an emergence of dystopian lines of criticism denouncing new forms of programmed governmentality and ubiquitous surveillance, placing societies, lifestyles and the human psyche under the control of algorithms. These criticisms are so negative because they start from a belief of human autonomy from technology. To examine the other side of this argument, this article aims to discuss the coevolution of humans and technology. To accomplish this aim, the article is based on the writings and practice of the artist and theorist Roy Ascott, in whose work can be found the most original and significant conceptual sources for the defence of this thesis.
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Field, coherence and connectedness: Models, methodologies and actions for flowing moistmedia art
AbstractThis article introduces practical and theoretical investigations in fields of art and technology related to biotelematics, hybridization and transcultural experimentation based on research carried out over the last four years at the Nucleus of Art and New Organisms (NANO). We will approach this subject by considering three main points of view: field theory (Ascott 1980; Nóbrega 2009); the concept of coherence (Ho 1993; Ho & Popp 1989; Simondon 1980); and the state of connectedness (Ascott 2006). These will act as integrative models for the understanding of an emerging hybrid organic structure presented as an aesthetic organism (Nóbrega 2009). The concept of field theory is applied as a working model for the systemic role of information within the immaterial, invisible, dynamical flow that intercommunicates natural (i.e. humans and other living systems) and artificial (i.e. machine) organisms in the process of invention, as well as in the fruition of artwork. In terms of the concept of coherence, we propose the idea of artworks as transducers of energy; more specifically, as resonators of coherent fields that interconnect the artist and audience in an integrated, dynamical whole. Furthermore, we approach the state of connectedness as a fundamental notion for the dynamics involved in the invention, exhibition and absorption of contemporary artworks. NANO Lab’s involvement with artistic research is not only understood as a physical space for experimentation, but also as an environment in which our practice reflects concepts applied in artistic work. In this sense, we can highlight two theoretical references (other than Roy Ascott’s work) which guide this methodology: Humberto Maturana (2001; Varela & Maturana 1992) and the idea of a conserved ‘autopoiesis’, a systematic medium (space) in which all recursive dynamics of reciprocal interactions occur to sustain the survival of life, processes and systems, and where technology can be conceived as a powerful instrument/medium to expand our knowledge about structural and sensitive coherences within living and non-living systems; and, Jorge de Albuquerque Vieira’s (2006; 2009) approach to art as a type of knowledge related to any process that guarantees the permanence or survival of a system based on three major characteristics for the survival of an open system – sensitivity (to operate information flows), memory (to transfer and retain information), and capability (to elaborate or prepare information according to its needs).
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Technoetic syncretic environments
By Tania FragaAbstractThis article presents and reflects upon artistic artworks at the intersection of virtual and physical computer systems with wet (biological) systems, in reference to Roy Ascott’s ‘moist theory’. It is divided into two sections. The first section offers contextualization by pointing to Darcy Ribeiro’s considerations of differentiations among Brazilians, thus leading to an expectation of miscegenation that assimilates and incorporates races and beliefs in a syncretic way. To this background is added a theoretical framework based on semiotics entwined with mathematics and physics from a set of authors. Both aspects are intertwined with visceral sensations and feelings which emerged from immersible field researches. Glimpses of the 1997 Xingu expedition are introduced as an example of such immersible field research to unveil aspects related with moist theory.
The second section presents four case studies that illustrate all of the concepts previously mentioned. Here, syncretism is understood as a field for events that engender the artworks. These artworks are created as metaphorical journeys aimed at expressing potential shamantic experiences and configured as a set of symbiotic systems. Two of these artworks explore neural connections; their research involves computer devices that allow human interferences in the behaviours of autonomous agents in virtual reality simulations. The resultant systems are artificially alive organisms in flux with the rhythms of the autonomous programmed processes; these change each time they run within the computer, allowing the user to symbiotically interfere in the algorithmic nature of artificial ‘seeds’. These poetic realms are metaphors of the flow of life itself. Summing up, they are technoetic artworks that could only arise from the Brazilian melting pot of cultural, racial and theoretical mixtures.
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Moist art as telematic dance: Connecting wet and dry bodies
More LessAbstractAssuming that the contemporary world is inevitably set in the context of moistmedia (Ascott 2000), this article discusses some artistic proposals that specifically seek to explore the relationship between dry technology and the wet human body, as in the case of telematic dance. This article is grounded in Clark’s (2003) concept of the ‘extended mind’ and ‘cognitive artefact’; Noë’s (2004; 2012) ‘activism’ theory; and Gallagher’s (2005) ideas surrounding ‘body image’ and ‘body schema’. My discussion of ‘moistmedia’ is focused on Ascott’s ‘Moist Manifesto’ (2000, 2003a), as well as moist theories which contribute to rethinking notions of (tele)presence, time, space, distance and of the very body. Through these new comprehensions we can understand the new perceptual demands that dancers have to deal with in the context of telematic dance. This new art configuration promotes different sensory motor experiences compared with a stage-based dance environment. The networked field of telematic dance is one way in which to render reality fluid in a moist context. In this sense, telematic projects could be assumed as moist art – ‘the hybrid interval between cyber and physical space’ – and as the ‘digitally dry, biologically wet, and spiritually numinous’ (Ascott 2003). Analyses of performances created within the project entitled ‘Embodied Varios Darmstadt’ 58’ (2013–14), with the collaboration of artists from Mexico, Spain, Portugal and Chile, will contribute to my discussion of telematic dance. This telematic artistic project was created to develop the concept of the ‘(tele) sonorous body’ from a theoretical and aesthetic point of view, so as to follow my interest in exploring telepresence beyond visual image. In this article, it is assumed that a human being experiences her/his world through sensory motor skills and that these are in play when s/he interacts with the environment (Noë 2004), a milieu garnered from Ascott’s ‘Moist Manifesto’ (2003a). The cultural shift proposed by this manifesto brings into play some important considerations, including notions of negotiation, construction, context and distributed mind, which overlap with conventional ideas of reception, representation, content and the autonomous brain respectively. Our interactions via telepresence with a dance partner bring about different ways of perceiving one another and oneself, because body image and body schema play an active role in shaping our perceptions (Gallagher 2005). Our actions and perceptions, our body image and body schema are responsible for our behaviour and learning in this world, interweaving these bodies partially wet (i.e. those onstage) with the dry (i.e. those tele-transported through cyberspace. The analysis of ‘Embodied Varios Darmstadt’ 58’ will contribute to understanding the perceptual demands of the dancer within the telematic environment, as well as the new notions of time, space, distance, presence, and the very notion of relationship or body contact in dance embedded into this ‘+ + biological culture’.
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An artsci science
More LessAbstractI see art as the most efficient technological field for triggering human imagination. I am not alone in my conviction that human imagination has the potential to feed back to arts and science in creative and transforming ways, as does to every humanconceived technology. More than progress, breakthroughs depend on it. A virtually unlimited conceptual hybridization from dramatically distinct knowledge fields is markedly attainable in the present day through use of an art we experience as growingly immaterial and distributed. As claimed by Roy Ascott (2006), the deep significance of this experience is only achieved when a sort of technological intermingling dissolves artwork and observer into a moistmedia that takes the form of a hybrid conscious body. Would the same be true for science?
In addressing this question, a first step is to recognize that there is more to the scientific process of thinking and creative conception than mere cognition (as defined by neuroscience); it also parallels artistic processes. Importantly, both artists and scientists operate at levels of subjacent realities. What would be the implications to scientific practice if, instead of romantic, essentially subjective, speculative guesses, we prove scientifically that subjective processes potentiate science? The present article proclaims the centrality of this question as a transforming demand to contemporary neuroscience. Moreover, it reverberates Roy Ascott’s proposition of the brain as an access system – a ‘moistmedia informer’.
In this article, hybrid artsci labs are proposed as systems that favour aesthetic rapture at different stages of scientific practices. A conceptualization of scientific objects – either material or immaterial – in contemporary art is central in this model. Artsci labs are essentially conceived as providing for interdigitating scientific, artistic and brain technological paradigms, and the effects on cognitive handling through directly controlled technical evaluation is presented. Results from my lab give support to Ascott’s proposition of an art development informed by the brain. Moreover, the hybrid multimodal character of the artwork returns to science as a gain in abstraction, favouring the idea of contemporary art as a speculum of knowledge resonances, while potentiating intuitive conceptual reframing and associative thinking usually detected as insights.
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Volumes & issues
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Volume 22 (2024)
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Volume 21 (2023)
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Volume 20 (2022)
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Volume 19 (2021)
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Volume 18 (2020)
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Volume 17 (2019)
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Volume 16 (2018)
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Volume 15 (2017)
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Volume 14 (2016)
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Volume 13 (2015)
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Volume 12 (2014)
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Volume 11 (2013)
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Volume 10 (2012)
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Volume 9 (2011 - 2012)
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Volume 8 (2010 - 2011)
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Volume 7 (2009)
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Volume 6 (2008 - 2009)
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Volume 5 (2007)
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Volume 4 (2006)
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Volume 3 (2005)
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Volume 2 (2004)
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Volume 1 (2003)