Technoetic Arts - Volume 15, Issue 3, 2017

In this research we will examine the paradox nature of self-reference. This concept appears in the form of pure feedback loops in language and mathematics and naturally extends towards many different domains such as biology, sociology, art and philosophy. The basic elements of human experience show the manifestations of such loops. Their results are noticeable in internal or external, mental or body processes. Our interest with these loops focuses on the domain of brain processes in observing, thinking and interpreting as it is meticulously analysed in the books Gödel Escher Bach and I Am a Strange Loop. Through the interactive artistic experiments ‘Ouroboros VR Self-Reference Apparatus’ by John Bardakos (2015) and ‘Anima’ by Elhem Younes (2016) we explore applied and theoretical concepts and experiences in logic, dream aesthetics and the human creativity. These experiments were conducted using ‘perception’ as a natural model of aesthetics generator via self-reference. Within this model, the loops were enriched with an artistic metamorphose of data from measurements of the human space to the aesthetic objects in the virtual space. Through the quantifiable perception feedback loop and the digital interaction, the spectator changes his role and becomes an active artist expressing himself or herself to a digital output with the support of data. The now post-conscious artist, with the use of visual and audio-visual tool sets, observes the fusion of art technology and aesthetics being transformed into basic elements that form consciousness.

Motivated by the unconventional views on film and art in general, and often unrestrained by the commercial imperatives, generative artists engage the poetic and expressive potentials of film playfully and efficiently, with explicit or implicit critique of cinema in a broader cultural context. This article looks at the creative incentives, insights and implications of generative cinema. In six interrelated categories, it presents the art projects of generative cinema, which in various ways point to the algorithmic models for parametric, analytical and/or synthetic generation of the cinematic structure, narrative, composition, editing, presentation and interaction. The article states that the algorithmic essence of generative cinema significantly expands the realm of creative methodologies for the artists working with film, but also provides a platform for critical assessment of the algorithmic strategies and overall creativity in contemporary film industry. Exploring the algorithms on a multitude of levels, generative cinema is on its way of becoming the supreme art of the moving image in the early twenty-first century. Its poetic divergence, technical fluency and conceptual cogency successfully demonstrate that the authorship evolves towards ever more abstract reflection and cognition that equally treats the existing creative achievements as inspirations, knowledge sources and tools.

In recent years, a rising interest in scientific imaging has become apparent, in art production and in thematic exhibitions, as well as in popular media and advertising. Images captured by, and supposedly read through, machines open up a new era – not only for an as-yet-undefined aesthetic journey, but also to reveal insight into a normally invisible layer of reality. A wide range of techniques is already well established – not only in science, but also in an artistic context. Based on an overview of different media and their applications, the term phasmagraphy is introduced to be applied to the expanded boundaries of the visible photographic spectrum to the adjacent wavelengths beyond full-spectrum photography.

Gary Zukav suggested that we consider reality what we take to be true, what we believe and that is based on our perception (1979). If we assume that this is the case, then we might try to use tangible and intangible tools to reframe our preconception. As human beings we are trying to maintain the relation between our body and soma. In the same way someone might try to understand the body–mind coupling as oneness of duality, in other words not two and not one. Furthermore, we can only use our senses to fulfil what is the present, the now. The now action will lead us to a specific scenario. As history has taught us, social and technological innovations have driven human beings to often perceive themselves as the spark of industrial revolution: an ideal salvation for the most urgent issues. Then, it might be acceptable to consider the marriage between art and science as a tool to achieve a sort of soteriological reward. In the same way, if additive art is object oriented then we might be allowed to explore how the applied arts under the design dimension, as practice and research, are struggling in the search for a new spirituality. Moreover the quest for design education, combined with the analysis of post-dramatic theatre and participatory design, has raised the question of how an alternative basic design course could heighten self- and collective consciousness through an approach based on the relation of body–soma. It is noted that design education, since the initiation of Bauhaus Art School, was considered the ideal path to deliver a physical outcome that represented the balance between art, technology and science, while from a philosophical point of view we can recognise the following as a subtle suggestion on what design education should expand its search: ‘to perceive, to conceive, to image: such are indeed the three types of consciousness by which the same object can be given to us’ (Sartre 1940: 8). Tracing connections between Sartre’s idea and the blend of post-dramatic theatre with participatory design into arts education, this article will describe experiments that aim to break down design students’ preconception: a dimension where the process of fabricated realities became the main outcome, the body–soma dialogues struggling to gain the perpetual unbalance. Experiments were conducted at the micro–macro scale, in a non-tactile society, where, for most people, the practice of Buddhism is embedded in daily life. This article aims to underline how an alternative approach to design education in South East Asia could be the building blocks to develop a reflection, an open-ended dialogue on network effect and the self.

DRACO.WOLFANDDOTCOM.INFO is an interactive proto-videogame installation that immerses users, personified as abstract dragons in a cathartic, stochastic, full-body immersive videogame experience, in cyberspace. The work attempts to playfully shift user consciousness towards non-human embodiment, by real-time 3D meshing the data from the human body into a mirrored abstract, ill-defined dragonic 3D shape. It gifts humans with special virtual powers, such as flying and cusping fireballs, as they fight for their progression in the game-space and facing annihilation, through invisible, interactional camera-based technologies which will be exposed in this paper. Inside the piece’s virtual world, users play as endangered dragons in the XXIst century populated by companies, websites and humanoids eager to stop the mythological beasts. The dragons progress in the game-space by inflicting damage upon the city’s landscape. The stochastic game-space ascends in difficulty as the levels progress, slowly changing the joystick’s response into faster speeds and generating larger city-scapes, inducing the game’s ultimate goal of a cathartic ilinxian state of disruption and otherness in human perception.

Reframing reveals possibilities. This article highlights how conceptual shifts regarding ‘sustainability’ occurring inside China’s municipalities and major corporations are opening the way for new collaborations with technology companies and technology artists. These shifts – from predetermined accounting to systems thinking – reveal new opportunities to intervene in the biophysical and economic challenges facing China today. In companies, this shift implies placing financially relevant environmental, social and governance (ESG) factors at the core of business strategy. In municipalities, this shift necessitates designing and implementing systems that track ecosystem services rather than simply stocks of natural resources and recognizing interdependencies between these services and economic development. This article suggests that this sustainability reframing can draw heavily on systems thinking from environmental science, technology companies’ drive to develop products that meet these emerging demands, corporations’ need to compete in an uncertain developing market and the reframing skills of artists, particularly digital artists. This article concludes with opportunities for digital artists to intervene and collaborate with sustainability practitioners to open new directions for cities and companies in China.

What can writing, the literary perspective, contribute towards the academic discourse? How can literature describe or explore the world we experience? In this article I argue that the essential porousness, the cuts and in-betweens of the world that are embodied in the poetic writing (and reading as writing) process not only embrace the absence of an objective reality or truth but also the subjectivity, the ephemeral and the ineffable as a general (postmodern) condition.

BioArt has become an umbrella term for art practices utilizing biotechnology and living matter. Pioneering BioArt creations erode the boundaries between science and art, provoking a series of social and cultural debates. BioArtists deprive the pragmatic function of biotechnology and alter life itself. However, BioArt is an art practice strongly tied to the development of biotechnologies and evolving bio-media. The increasing familiarity of biotechnologies enables the creative works to evolve as technologies evolve. This article aims to contextualize the issues presented in the artworks by two artists based in Taiwan, Kuang-Yi Ku and Pei-Ying Lin, who adapted emerging biotechnologies for their artworks. This article attempts to use affect theory as a lens to observe post-biological artworks and suggests that the Autonomy of Affect, the postmodern power after ideology, should play a significant role in their works.

The article proposes that the modern notion of the spiritual in art, which was theorized at the beginning of the twentieth century, although remains pivotal to the discourse of art and the spiritual, has radically shifted as a result of changing attitudes to the body–mind relations instigated by popular trends of contemporary spiritualities. This cultural tendency is demonstrated by the analysis of the networked art form of Moon Ribas, e.g., dance with earthquakes. Ribas performs a cyborg body and consciousness that, as contended, could be holistically enhanced and develop a unique compassionate awareness. In addition, I reflect on two examples from my performative practice of Networked Rites that interplay with speculative metaphors, spiritual and shamanic techniques, networked aesthetic forms and technologies. The first invokes communitas as a collective, non-local, networked noetic field. The second utilizes a decision-making app as a mediating device between the body and mind for the making of a prototype cyborg noetic field instilled with auspicious resonance. The article mainly implies that spiritual art continues to evolve through technoetic aesthetics fusing emerging technologies, science and shamanic, spiritual insight. Current trends may develop into benevolent and experiential applications based on the interrelations of human and cyborg body and consciousness.

Augmented Reality (AR) is commonly defined as a digital layer of information viewed on top of the physical world through a smartphone, tablet or eyewear. Increasingly, this understanding of AR is shifting to a dynamic framework of ‘smart things’, including wearable technology, sensors and artificial intelligence (AI), with the ability to intercede in key moments and to deliver contextual and meaningful experiences. The things that come into context are the logical next steps in an evolutionary development towards computers that are better able to show empathy in relation to people: even more human-oriented, anticipative and ubiquitous. Thus, this outsourcing of meaning to empathic technologies points to one of the fundamental questions concerning the relation of human and technology – the nature of the trust that users place in technology.

The aim of this article is to analyse interactive reinterpretations of two of Raul Meel’s artworks. They were created after the original works were made; they reference the original artworks and are meta-referential. These reinterpretations allow the original artworks to be opened and explained and become instantiations of their algorithmic content. The questions that arise in this article are as follows: how can physical artworks be opened up for audiences by means of interactive emulations? How can this serve to document and preserve the unique experience of the artist? The aim of this article, in addition to the practical analysis of the two case studies, is to discuss the wider context of the problems of meta-artworks and the following direct questions that arise out of analysing them as research objects. I analyse in detail a selection of media artworks in which meta-referentiality is foregrounded. A focal point of my discussion is an interactive emulation of Raul Meel’s Under the Sky, which was created for his biggest retrospective exhibition entitled Dialogues with Infinity (2014) at the Kumu Art Museum in Tallinn. My second object of interest is the mobile app ‘seeESE’ based on Meel’s installation The Dice, shown in the same exhibition at the Kumu museum in 2014, of which the original version dates back to 1969.