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- Volume 16, Issue 1, 2018
Technoetic Arts - Volume 16, Issue 1, 2018
Volume 16, Issue 1, 2018
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An astonishingly intricate architecture: Visual Music of the Brain and Mind
More LessAbstractThe overarching guiding principle of Alan Turing’s work was directed towards modelling the human mind as a machine. It is extraordinary that Turing introduced, in his early papers, ideas that are only now beginning to be investigated. Throughout his life, he considered conjectures to be of great importance because they suggest useful lines of research. In my own conjecture, I am asking the question: what is the brain’s geometry? Can it ever be unravelled, or does its complexity defy any form of visual representation? Recent research reveals that the detailed workings of the brain take place in a ‘global workspace’, where conscious contents appear to be disseminated globally to a great multitude of networks throughout the brain that are unconscious. During conscious tasks, neurons contributing to the global workspace enter into a coherent activation pattern by being tightly connected through long axons. Is it possible, therefore, that my proposed geometric pattern (an Islamic latticework) can be envisaged as a useful means of interconnecting multiple long axons in a unified global workspace dedicated to conscious thought? I share and communicate my idea through a process that combines visual imagery with musical performance (i.e. visual music). It is a method that can assist in clarifying concepts that might otherwise remain elusive or esoteric.
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Neurological perception and sound-based creativity in post-biological realities: Recontextualizing reflective practice for technoetic environments
More LessAbstractWe currently exist in a post-biological age. Mixed-realities shape the way in which we live modern life; half in physical form, half in a hyper-mediated virtual environment of network protocols. This article discusses network-based impacts on neurological navigation and the ways in which the human auditory cortex is developing through conjuncture with post-biological combinations of sound. In doing so, it examines the capacity of the human brain in decoding and understanding the abundance of sound in confluent, variegated realms of existence and how such increased perceptions expand consciousness and, in turn, affect sonic creativity as a somewhat mimicry or response to our immediate auditory environments. Conclusively, it will be argued that the exploration of sound-based creativity can be reinterpreted for post-biological spaces, taking particular aim at the reflective approaches of musique concrète and how such technologically infused ideas can be transformed and recontextualized to match the power and capacity of today’s hybrid environments of occupancy.
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Self-styling an emotionally intelligent avatar
More LessAbstractLeah, created over the last three years, is a self-styled, autonomous avatar collaboratively developed with Dr Mark Sagar at the Laboratory for Animate Technologies, Auckland Bioengineering Institute at the University of Auckland, New Zealand. Using ‘Leah’ as a technoscientific art case study, this paper will address the practical and theoretical considerations underlying the project, showing complex posthuman and bioethical relations. Leah is exhibited as an intra-active screen-based installation. It is the product of a shifting transdisciplinary collaborative process, involving artists, engineers, computer scientists and neuroscientists. Leah was developed as part of the Auckland Face Simulator project where adult faces are realistically and precisely modelled to show accurate expression. These can be used for neurophysiological and neuropsychological research into emotion, agency and empathy. This artwork engages with a deep questioning of the posthuman through bioengineering self-imaging practices and reflects on our co-evolution with technology.
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On delight: Thoughts for tomorrow
More LessAbstractThe article introduces the problematics of the classical two-valued logic on which Western thought is generally based, outlining that under the conditions of its logical assumptions the subject I is situated in a world that it cannot address. In this context, the article outlines a short history of cybernetics and the shift from first- to second-order cybernetics. The basic principles of Gordon Pask’s 1976 Conversation Theory are introduced. It is argued that this second-order theory grants agency to others through a re-conception of living beings as You logically transcending the I. The key principles of Conversation Theory are set in relation to the poetic forms of discourse that played a key role in art as well as philosophical thinking in China in the past. Second-order thinking, the article argues, is essentially poetic. It foregoes prediction in favour of the potentiality of encountering tomorrow’s delights.
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Real-time? Reframing temporal consciousness in time-based and interactive media
More LessAbstractThe experience of time and temporally extended events is a fundamental property of mind, and of time-based media arts. In dealing with properties of time, does the operational logic of contemporary media production tools cohere with philosophical views on the experience of time? This article considers a range of views on the phenomenal experience of time as they relate to the production of time-based media. Embedded within our production technologies, the artist is faced with a new philosophical instrument: the production timeline. The timeline utility in most time-based media software (and non-digital precursors) adopts the cinematic model as its operating metaphor; a series of frames, assembled one after the other in sequence. But the timeline brings new temporal complications such as reversibility, hierarchy and modifiability. The timeline also contorts time into a spatialized dimension, represented as a linear vector within the software interface. Automatic adoption of the linear timeline and the frame as the base unit of temporal thinking is problematic. J. M. E. McTaggart’s argument for the unreality of time based on contradictions within a range of possible temporal modal logics is compared with approaches to animation and editing software, and also interactive media software and their unique approach to time as potential events is considered.
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Performing Hypo-Linguistics
Authors: Minka Stoyanova and Lisa Park SoYoungAbstractLanguage is the original technological prosthesis mediating all transfer of human cognition. The relationships between language, communication and cognition have long been the subject of scientific, philosophic and linguistic inquiry. However, it is through contemporary advancements in neuroscience that we now have unprecedented access to the inner workings of the human brain. Particularly, consumer grade neural scanning technologies like the Muse headset allow non-scientists to view, manipulate and draw conclusions from data generated by their own neural processes. Hence, artists Minka Stoyanova and Lisa Park SoYoung have created an artistic experimental system that utilizes these technologies to address the possibility of communication beyond the confines of linguistic signification. Performing Hypo-Linguistics uses Muse brain sensors to create an abstract audio-visual communication system and feedback loop. Through the visualization and sonification of their respective brain data, these artists perform communication that is both outside of conscious control and beyond sign-based systems of linguistic representation. In this article, we discuss the philosophic and scientific groundwork that supports the creation of this system; our processes of sonification and visualization of the Muse-generated brain data (including the modes by which we actively avoided signification and expected technological aesthetics of data representation); and the outcomes of the performances or the realized interaction between the performers. As deep-learning algorithms become increasingly able to teach computers to mimic human language, it becomes ever more apparent that language is not, in fact, the purview of the human, but only one technological mode invented to facilitate the transfer of information. As with all systems of communication, noise is introduced in this process of transfer. This artistic research seeks to highlight that reality while considering the potentials for alternative forms of technologically mediated communication beyond linguistic signification and below the level of consciousness.
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Virtual reality and human consciousness: The use of immersive environments in delirium therapy
Authors: Marko Suvajdzic, Azra Bihorac, Parisa Rashidi, Triton Ong and Joel ApplebaumAbstractImmersive virtual environments can produce a state of behaviour referred to as ‘presence’, during which the individual responds to the virtual environment as if it were real. Presence can be arranged to scientifically evaluate and affect our consciousness within a controlled virtual environment. This phenomenon makes the use of virtual environments amenable to existing and in-development forms of therapy for various conditions. Delirium in the intensive care unit (ICU) is one such condition for which virtual reality (VR) technology has not been evaluated to date. We are currently assessing the feasibility and utility of a delirium prevention and treatment system, which implements VR to improve quality of sleep, reduce pain, lower usage of sedatives, and stimulate cognition. The proposed system will consist of 3-axis wearable accelerometers, 6-DOF position trackers, a VR system and apps designed to promote sleep quality and mindfulness. Our a priori hypothesis is that our VR therapy system would lower the occurrence of delirium in patients admitted to ICUs.
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From the ego to the alter ego – interacting with the self image through Neuro Mirror
Authors: Christa Sommerer and Laurent MignonneauAbstractIn this article, we introduce our interactive art installation Neuro Mirror that was developed in 2017 for the Cybernetic Consciousness [?] exhibition that was held in 2017 at the ITAU Cultural in Sao Paulo. This artwork enables participants to interact with their own images and those of their alter egos with the help of digital mirrors. The installation consists of three screens. The middle one shows a live image of the participant that is somewhat distorted. The one on the left side also displays an image of the interacting person, but with a time delay of a few seconds. On the right screen, however, another person is shown – a young man, who is acting and moving his head. In fact, this person is programmed to be an avatar or an alter ego who reacts to the participant. He ‘learns’ new behaviours by observing and imitating the participant and reacts accordingly. A neural network programme was developed to enable him to predict the participant’s next actions from his previous ones.
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Chinese characters and the spirit of place in China
By Deng SiqiAbstractWriting, or calligraphy, in China is strongly influenced by ancient techniques of making art. Chinese characters have evolved from the patterns of bronze drawings, and China’s earliest hieroglyphs usually retain the traces of their origin in paintings. These paintings usually recorded daily life, and the related Chinese characters have evolved from these with general, simplified and abstract features. The composition that makes Chinese characters is a manifestation of ancient Chinese philosophy, of which Confucianism, Taoism and Buddhism are the three key strands. They have affected Chinese culture and aesthetics in all dynasties.
Chinese philosophy emphasizes the integration of individuals in their surrounding environment. The art of ancient China consequently combines skills that relate to the artificial, or constructed, and to natural patterns. Chinese characters make a perfect example of this. The article/presentation will outline the research that I have so far undertaken on the relation between Chinese calligraphy and architectural space, between writing and constructing environments. It will also present some experimental design research that aims at developing from the above-mentioned basic research new architectural typologies that are contemporary, resonant and sensitive to the Chinese context.
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Orchestrations of consciousness in the universe: Consciousness and electronic music applied to Xenolinguistics and Adnyamathanha aboriginal songs
More LessAbstractThis article deals with the reframing of the concept of universal mediated communication on a global scale. Subjects include the following: the universe has a conscious force field at all its scales, requiring continuous inter-scale communication of information; the field exhibits distinct electromagnetic frequencies associated with the building blocks of life; and advances in the technology of sound production with electronic synthesizers can be applied to study mechanisms of such universal communication. The question being addressed is how electronic synthesizers can be used to create sonic xenolinguistic expressions when composing with sonified frequencies obtained from bio-organisms, human protein structures, phonemes and various types of interstellar frequencies that include, but are not limited to, gamma bursts, pulsars and neutron stars. The objective is to construct sonic xenolingusitic expressions that can act like feedback loops within the field of consciousness. These sonic expressions can include anomalous cognitive, emotive or spiritual experiences that may be emerging out of the universal field of consciousness in real time. Xenolinguistics is a hypothetical language used to communicate with other sentient beings in the universe. The rationale for composing sonic xenolingustic expressions is the belief that the universe is considered conscious and that there is a field of consciousness existing throughout the universe that in principle is also instrumental in how communication can evolve with extraterrestrials. Outlines of other attempts at extraterrestrial communication by other researchers will be offered based on current literature. The probability that other life forms have established some mode of information exchange that is detectable and that, in return, may be able to create a form of communication to respond will be covered. It is postulated that various energy fields existing before and after the creation of our universe interacted with one another becoming abiotic, and then over time, formed even more complex structures. It is these complex structures that were then able to communicate essential information for maintaining their stability and survivability by using specific signalling frequencies. It is hypothesized that first life in the universe emerged within an already existing field of information and that our consciousness is thereby able to establish communication with other forms of consciousness in the universe. It is on this basis that a novel scientific and philosophical paradigm is considered in which the universe is conceived of as an active information matrix that can entertain potential extraterrestrial communication. In this framework, the present article will offer a new approach to orchestrated electronic sounds as a means to such communication. By integrating quantum physical properties into that sonic framework, a new study emerged on how sonic xenolinguistic elements can be incorporated into electronic composition techniques. This new framework may produce new algorithms for musical expression that not only represent an innovative future of electronic music but may also be crucial in the formulation and induction of new states of consciousness that will enable humankind to directly participate in the further becoming of the universe as a result of the evolution of this universal field of consciousness.
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Volumes & issues
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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)