Technoetic Arts - Volume 15, Issue 1, 2017

This article discusses the transformation of a tiny three-dimensional artwork created in the metaverse that takes its inspiration from Jorge Luis Borges’s story of ‘the Aleph’ – a tale that revolves around a minute artefact that is ‘one of the points in space that contains all other points’. The visualization of a concept as complex as ‘the Aleph’ led the author of the project through a process that started from Cartesian precepts, from where it transformed itself into an investigation of ‘code’ as a basal, life-giving presence that is abstract, enigmatic and hermetic in its essence. This correlation between ‘code’ and the magical nature of ‘the Aleph’ has led to further considerations regarding the significance of such a marvellous object within virtual worlds. Accordingly, this text will conclude with the description of an intriguing, novel usage for ‘the Aleph’ that materializes as a time machine for virtual-world avatars.

The purpose of this article is to explore a newly defined concept of distributed cognition in a spatial domain and to propose how this conceptualization may be applied to how architectural space is organized. A novel view of distributed cognition is presented, which is concerned with the purposive behaviour of an organism-in-its-environment. We term this concept teleonomic distributed cognition. Teleonomic distributed cognition is the ability of an organism (including humans) to interact with its environment for the purpose of satisfying its physiological (internal and external) and social needs in order to survive and sustain itself. An implication of this approach is that the sensory capabilities that drive the teleonomic distributed cognition of the organism define its spatial domain.

This article and associated short film, entitled Threshold, explores the phenomenon of house as a Cartesian construct of rational cultural detachment, set in binary opposition to the indigenous understanding of nature as connected and sacred. Threshold focuses on the liminal in-between zones of a house – its doors and windows – which both separate and join the inside/outside domains – without belonging to either of them. The film explores the liminal act of crossing this ontological threshold – representing it cinematically as a vibrational, ocular/aural wavering between two ‘worlds’. The intention is to destabilize this duality on an emotional level – in order to interrogate its validity. This strategy references anthropological theory, which asserts that the liminal act stimulates the limbic system containing ancestral, instinctual deposits. The function of the limbic system (part of the triune brain model) accords with Jung’s theory of the collective unconscious – which views the house as an archetypal symbol, central to the meaning of dreams – in representing the psyche of the dreamer. Threshold attempts to invoke this and other archaic symbols as the camera journeys through its interior spaces, discovering its material culture artefacts, which reflect the psychic state of its inhabitants. The paper explores the indigenous belief that there is a mystical (unitive, transformative) relationship existing between space and acoustics that can only be fully appreciated through an emotional experience with it. The adoption of an arts interventionist approach, can, the article will argue, provide an important contribution towards our expanded understanding of Space and Place as an embodied, emotional-cognitive act.

This article will explore the processes and concepts embedded within Dennis Doty’s fine arts studio practice, giving examples of how the work has developed from traditional paintings into its current interdisciplinary form. It examines why it is important to integrate traditional art-making skills with contemporary new media software and approaches. The article aims to illuminate some of the complex interdisciplinary processes that Doty employs to develop multiple bodies of work, including stereoscopic video paintings and projection-mapping artworks. His work explores ideas of spatial perception and the changes that have been happening to our understanding of both physical and digital environments since the invention of the Internet. Doty’s processes demonstrate ways of finding connections between different mediums, analysing and unifying components in a way that can be helpful and inspiring for various professional fields.

The lure of animal instinct appears to be an important consideration for the development of intelligent (or simulated intelligent) robotic creatures. Studying the behaviours and playful engagements of animals (like humans) provides robotic artists with a plethora of engagements from which to draw and mimic in their development of whimsical-behaving robot bodies. Animals, as the human other, present us with a counterpoint from which we can study robots as lively entities.

As a conceptual approach in art practice, the female body has represented both a cultural barrier and a source of inspiration throughout art history. The adoption of the female body as an art theme is prevalent across many different artistic movements, using varying conceptual approaches. Women struggle against paradigms of inferiority to this day, though their individual cultural identity varies according to their society’s beliefs and customs – for example, many contemporary Middle Eastern cultures and customs are based on a patriarchal past, when men wielded power over women. Women all over the world experience subjugation to varying degrees in the fields of employment, education, sexuality and reproductive choice. The female body in Middle Eastern societies is a red line that artists are not allowed to cross. Though many Middle Eastern civilizations have dealt freely with the female body, as can be seen in the paintings and sculptures of ancient Egypt, many social and religious factors made the female body taboo in most Middle Eastern cultures. However, on close scrutiny of modern art history in Middle Eastern and Islamic countries, we can identify outstandingly courageous female artists who succeeded in breaking the rules. They chose to express themselves through their own own form of art as an expression of freedom. They chose to use their own bodies as an art medium, which made them pioneers in their countries, and many female artists followed their example. Media art has flourished in Arab countries since the 1990s, especially in Egypt. Many of these female artists distinguished themselves as pioneers, aligning themselves with new art forms and challenging the prevailing stereotypical notion of the female artist at that time. This new mode of female self-expression and identity has developed over time and remains an ongoing process in the twenty-first century. This article considers how Middle Eastern female media artists have struggled to transform stereotypes of women by using their own bodies as an artistic element, and how they have expressed the concept of freedom through their self-body image.

The concept of simultaneity and contemporaneity is fundamental to and the core of my artistic practice but it also fits perfectly with the theme of my research. Creating multimedia art and installations with the help of new media is one way to best express the concept of non-separation, as evidenced by language itself. In Italian the word confusione, from the Latin term cunfusionem (mixing, blending), and in English confusion, is often used as a synonym for noise. In English, commotion is a synonym for blare, and it has been derived from the Latin word cum movere, which means moving together. Contemporary art and installation are both staticity and change intermingled in a single place and time. The study of crowd, and the emotion that emerges from the deep immersive experiencing of art, is also strongly linked to another concept developed by Bergson: intuition. By ‘intuition’, Bergson meant an elementary, indivisible experience of sympathy, through which a person is moved into the inner being of an object and can comprehend what is unique and indefinable in it. I hypothesize the presence and expression of emotion in the collective experience of installation art, and both my creative efforts and theoretical research are aimed at facilitating the audience’s understanding or intuition of this emotion in an immersive multisensory environment. Using a range of both technological and classical tools and means of expression in my work, but more generally, artists create a product that can mediate and unfold the complexity of the phenomenological event by rendering it in a new form accessible to all.