Technoetic Arts - Volume 13, Issue 3, 2015

This article describes methods and ideas that emerged from a continuing enquiry into ‘metadesign’ that led us to think about the role of ‘consciousness’ in teams, communities and the biosphere. In the West the notion of ‘consciousness’ has been shaped by humanism, industrialization and some strident forms of individualism. These have encouraged us to see it in strongly anthropocentric and solipsistic terms. The global economic system also reflects this individualistic ideology, given that ‘growth’, is driven by personal avarice on a collective scale. On the other hand, capitalism encourages enterprises to scale-up when they become successful. Both tendencies reduce the consciousness of organizations and communities. The article illustrates this idea by describing a ‘quadratic’ model of team consciousness that was developed to enhance practical developments that support personal, interpersonal, transpersonal and environmentally situated modes of awareness.

Cyberspace, a term popularized in the 1984 novel Neuromancer, was used by William Gibson to describe the ‘consensual hallucination’ and interstitial online world that lies between the reality of our world and that of the surreal terrain of dreamscapes. While many attempts have been made to describe this intangible, yet seemingly perceptible space, the digital domain as a metaphor mirrors in many ways our own inadequate understanding of consciousness. Conversely, the physicist Michio Kaku explains that our reality is bounded by hyperspace – a multi-dimensioned space beyond our quotidian 3D existence that runs parallel, or tangential, to us along with the phenomenon of time. Indeed, if space and time (here considered as space–time) are a consolidated whole in the physical sense, perhaps our consciousness, as a structure manifest within this continuum may itself be thought of as a sensorial projection of this amalgam that attempts to observe and make sense, or meaning, of this condition. In truth, what if our need and delight in storytelling is driven by the evolution of our biology, as well as our impulse to locate our place in the universe? This article will attempt to examine and delimit the narrative confines of space–time as an appeal to, and an endeavour at, uncovering the alterity of storytelling as a function of consciousness. It will visit the realms of the holograph, quantum mechanics, virtual and augmented realities, as well as other scientific and philosophical tracts as a means to investigate and explore the physiology of space and our imperative desire to share stories.

In this article I discuss the use of distinctions as a method for reasoning. First I trace the role of distinctions in three different theories: the formal calculus of George Spencer Brown, the constructivist biology of Humberto Maturana and Francisco Varela, and Niklas Luhmann’s theory of social systems. In the second part, play is used as an example to illustrate the concept. In particular, I contrast walking through a series of distinctions with traditional ways of argumentation based on definitions. Finally, I hint at the role of distinctions in a metaphysical sense.

Trāṯaka is an interactive installation based on a brain-computer interface (BCI). Wearing this device, the user is invited to concentrate his attention on a flame placed in front of him, in order to extinguish the fire. This work is here presented as a case study about seamless interaction. According to the feedback provided by the users, Trāṯaka stimulates two main kinds of reactions: on the one side, scepticism, and, on the other, enthusiasm. In the first case, there is a clear mistrust on the functioning of this technology. In the second case, there is a blind trust in the system that is perceived as magic. However, here, both these reactions are considered wrong. They share a basic and comprehensible misunderstanding of the system, because its interface aims to be invisible during the interaction. Interfaces that tend towards invisibility do not provide enough information about the system, alimenting misunderstandings and folk theories. In opposition, it is here discussed that design methodologies related to the ideas of Enactivism, Embodied Interaction and Material Engagement propose interaction strategies that involve the whole body-mind knowledge.

The computational mind paradigm proposes that the mind is an information-processing system equivalent to a Turing machine. Some proponents of this view hope to emulate the mind using methods such as symbolism, connectionism or more biological models. In the present work, the following question is posed: is a computational mind capable of deciding (yes or no) whether a proposed emulation of the mind is indeed an emulation of the mind? It is argued that this is not possible. Intuitively, the reason a computational mind cannot recognize an emulation of itself is for much the same reason that a set of scales cannot weigh itself. In this article, a formal argument for this stance is given by noticing the following: for a computational mind to recognize an emulation of itself, it must be capable of deciding whether two Turing Machines (namely, itself and the proposed emulation) are functionally equivalent. This task is uncomputable, and thus there cannot exist a computational procedure in the mind that is capable of recognizing an emulation of itself.

This article is centred on the idea that from the analysis and interpretation of data from the crowd noise (at historical and engaging events) it is possible to define the manifestation of extroversion of people’s perceptions and emotions. What I seek to reveal in my artistic research is not the conjugation of perceptions and emotions for individual participants but rather the collective feeling, the energy that connects and refines the involvement of individuals and creates from it a new and indivisible whole: a collective perception and sentiment that in the multilayering of noise finds its full manifestation. Crowd noise, therefore, represents the synthesis of this unique collective emotion, a psychological and physical synergic experience channelling its force, energy and form into a distinctive event that is noise itself. What I am investigating is the sum, neutralization, enrichment and suppression of the constitutive elements of the emotion experienced by participants in an event, and noise ‘as a register of the intensity of relationships’ between them. Showing and describing an event, its sensations and atmosphere, or the perceptions and emotions of a moment, is impossible. The questions, how emotions emerge, how mental and physical perceptions are stimulated by our senses or how consciousness develops, are unanswerable; what is possible to show as an artist is what happens in the middle, what lies between the lines, within the fabric of events, and what one grasps and realizes from the exploration of what is in the involuntary traces the experience itself leaves behind.

Relations between perceiving and knowing are well-worn problems that become visceral encounters with doubt and ambiguity in ‘mixed-reality’ environments. Locative narrative situates participants within stories where existent places function as the setting. Experiential confusion, between what is talked of as real and as imagined, is an often-reported phenomenon. Classical pragmatisms, and more broadly the writings of William James, understand the functioning of the body to be for the production of action, from which flows a naturalistic epistemology. for James, a thought’s reference to an object occurs in the medium of an ‘experienceable environment’ and is a condition of it being known; what something is known-as is how it functions in a particular context and the consequences that follow. Contemporary pragmatists express varying positions on the function of representation in perception at different levels of cognitive awareness, and the extent to which intentionality is derivative of linguistic norms. In the locative narrative iOS application The Lost Index No.1 – Landscape with Figures strategies of directing participant attention, movement, cognitive tasks and propositional content are used to guide the interpretation of events. The complex environment that is created plays with the multi-stability of perception and the ‘multi-stability meaning’ between terms, resulting in ambiguity and an enhanced flexibility of interpretation.

This article explores the longing, the heterotopian structure of distance and proximity in literary writing. It proposes the two short stories The Red Notebook by Paul Auster and St. Martin by Lydia Davis as a starting point for the reflections on what is there and not there at the same time. The differences between the two narratives are discussed from a writer’s perspective, the distance and proximity is measured with literary means.

Based on a presentation at The Undivided Mind conference at Plymouth University, this article sketches out speculative applications of somatics, the first person, phenomenological study of sensation, perception and movement. I first introduce the subject of somatics through an experiential exercise for the reader before summarizing theoretical aspects of somatic study. Drawing from the literature in embodied cognition and from personal recollections of embodied experiences, I propose how somatic approaches could potentially be used in working with immigrant communities, living in outer space, and empathizing with non-human animals.

Observing dance improvisation provides a unique opportunity to understand how people collaborate together while creating. It is an opportunity to consider how new ideas appear, not simply from the internal processes of a single creator but rather from the interactions between the minds, bodies and the environment acting on and between a group of improvising dancers. Improvisational scores served in this study as a laboratory into group creativity. Using a video-stimulated recall method, which asks dancers to reflect upon their own processes just after completing the score, I explored the interdependency between meta-cognitive strategies such as imagery and sense awareness, group processes, the role of others in one’s own creative processes, and interactions between bodies and with the environment. As a result I describe how dancers build together a common improvisational space, which allows them to co-create and share their ideas mostly in non-verbal, non-propositional ways. I discuss the co-agency of such a process, showing that intentionality is distributed between dancers at each moment of improvisation and that they are mainly focused on supporting the ideas of others. I also discuss the medium of the body and the embodied response as central to dance improvisation practice.

This year I made an album with Jay Auborn. One of the tracks features a piano, a violin, a bass synthesizer, some vocals and the sound of me hitting two sticks rhythmically on the side of the piano. It is based on a previous piece of music which I wrote with Andrew Prior called Birdsong and is called Songbird. How did this happen? It started with the playing of a piano riff, a piano riff that was being played because we had just performed Birdsong at a performance in London with pianist, Dunstan Belcher. This piano riff was also being played because Jay had just been listening to Nick Cave and Warren Ellis, and I overlaid some violin because I was thinking about Warren Ellis and Alice Coltrane and the Mixolydian mode and In a Silent Way by Miles Davis. But I was probably thinking about Miles Davis because Jay and I were just doing impressions to each other of Miles Davis, imagining we were him writing his autobiography ....

Have you ever read his autobiography?

Jesus.

I played some bass because I had a conversation in the week previously about how I was frightened of bass. So bass was added. In a riff. A bit like Miles Davis, but I was thinking about ‘Atoms for Peace’ and not being scared of bass ...

In ‘The autonomy of the affect’ Brian Massumi wrote of the gap between affective and cognitive registering of the traumatic experience. Affect theorists and neuroscientists have long shared the notion of a gap between the somatic response to a traumatic event and the appraisal of the affective situation. This article develops theories on dissociation or nothingness, where nothingness is a measurement of the space between the affective and the cognitive registering of a traumatic event. It explores the concept of two different systems, one a ‘conscious automatic’ system and the other an ‘intensity system’ that exists outside of normal physiological sequencing, beyond narration, and therefore incapable of integrating into memory systems.

This article is an exploration of the social phenomenon of the coloniality of being and universal desires. It examines how coloniality became ingrained in a new form of global consciousness of capitalist aesthetics of consumption, and how from the convergence of globalized electronic capitalism, pervasive global advertisement and consumerism, universal desires were created for a colonized global audience. Many questions arise on agency, citizenship, territoriality and rights of these global audiences. In this global landscape, place making and the right to the city have to be questioned from a new global perspective of coloniality, race and gender, not from the usual perspective of subaltern groups, but from within the centre of Euro-American Eurocentric society.

Ritual consciousness is an altered state of consciousness that transpires beyond the boundaries of the known and gives rise to a duration referred to as time out of time. This extraordinary duration encompasses three interrelated factors: digital as opposed to analogue conduct of time, tempo and communitas. Under specific formal conditions, these factors may emerge in the context of networked rituals and outside their traditional and earthbound religious or spiritual settings. In this article, the three factors are analysed in relation to the author’s networked rites on the Waterwheel platform. The rites are designed to explore ritual consciousness and produce prototype morphic fields of compassion, which are aimed at counteracting the prevalent narrative of violence. There is an emphasis on communitas, a liminal and nonhierarchical communal state of oneness that could generate compassion. Based on researches in anthropology, biogenetic structuralism, cognitive neuroscience and morphic resonance, communitas is metaphorically envisioned as the communion of non-local brains within a networked mind and morphic field. The article postulates that the virtual and organic hybridity of the rites involve the participants’ body, brain and fields of the mind in the explorations of ritual consciousness.

Light as a subject of thought has proved impossible to deal with holistically. Light is intrinsic to the farthest reaches of physics, psychology, philosophy, art, etc. The conceptual structures to deal with light have been quite complex, often resulting in contradictions and paradoxes, e.g., light is conceived in terms of space and time, themselves functions of light. Knowing light appears to leave a remainder. Light cannot be wholly captured by thought; the experience of light does not reduce to knowledge of light. Perhaps more than any other phenomenon, light poses problems of distinguishing between the physical object and the object in mind. The record of thought about light shows that distinguishing between subjective and objective aspects of light has been notoriously difficult and a recurrent effort, apparently necessary towards understanding light. The author argues that light demands the reconciliation of concept and experience, objective and subjective aspects; dividing these limits understanding of light. In developing a research method that combines both the semantics and architectonics of light, the author draws from his original Light Dance art form towards a holistic understanding of light that reflects mindmatter continuity.

How can cross-disciplinary speculative narratives give us insights and open new paths of research? Borrowing from a number of disciplines, from Anthropology to Psychology or Art history, I will draw a hypothetical blueprint of processes that possibly led to the creation of the Ainu people’s patterns, an indigenous tribe from north Japan. From some particular key points I will narrate a speculative tale giving us possible insights about those specific patterns, as well as about the questions encapsulated in the split representation in the art of Asia and America, questions that were raised by various anthropologists, from Franz Boas to Claude Levi-Strauss. I will demonstrate that those pattern-making habits were inherent to human being as a species until very recently. What kind of unconscious purpose or meaning they could have had and what it could mean in terms of the evolution of consciousness.

The Renaissance perspective represents the three-dimensional space onto a bi-dimensional one. This cultural construction, which unifies real and virtual, like all simulations, has some limitations – the main one is that it only works from a precise viewpoint that rules the illusion. When moving away from this position the illusion becomes imperfect. Similar to physics, where reality depends on the observer’s position, perspective depends on the viewer’s position. Since perspective has been inherited by photography, cinema, video, computer images, virtual reality, 3D videogames, we live in a perspective-based culture. In perception the boundaries between opposite qualities are often blurred and even indistinguishable. A screen is generally considered as rectangular, but it can be viewed as really rectangular only from its central perpendicular axis, at the crossing of the diagonals. When moving from this position it should appear as trapezoidal, but people still say it is rectangular: because they see it as rectangular or because they know it is rectangular? This threshold between vision and knowledge is imperceptible and obscure. Something similar happens with the senses. They are considered as separate entities: touch, hear, sight, smell and taste are described as distinct ways to detect the phenomenal world. But they are intermingled; the boundaries that are supposed to separate them are apparent: they are logically separable but not separate. The sensorial system is a cohesive and interrelated continuum where the senses act in synergy with each other. Continuity and discreteness, indistinguishability and distinction, inseparability and division are qualities to individuate, describe, classify and/or communicate the phenomena. These qualities are both theoretical and technical, since they depend on the general perspective of the analysis, on the goals to pursue, on the scale at which the phenomena are observed and on the accuracy of the instruments that are used.