Technoetic Arts - Volume 16, Issue 3, 2018

Currently, art takes on the characteristics of a secular religion: it offers identity, dogmas, canons, experiences of transcendence and provides a certain worldly salvation without demanding any commitment to a creed or a doctrine. I will illustrate this through the example of the performance Marina Abramovic carried out at the Museum of Modern Art (MoMA) in The Artist is Present (2010). I will connect this to the distinction that Agamben has set between the concepts of secularization and desecration: while secularization displaces the forces from one place to another, leaving them intact, desecration involves neutralizing the desecrated, eliminating its aura and putting it back to use. Even though it is commonly believed that contemporary art desecrates realities, I will try to show that actually it secularizes them. Art brings with it the strength and meaning of the religious and keeps the integrity of the auratic space within the artistic realm. This is one of the reasons why transgression in art is such an important topic for theorists: it is a constant effort to redefine the limits between what is considered sacred (and art has a decisive power on that) and what is profane (not sacred anymore or not yet).

This article combines situational analysis with situationists dérive to weave a seemingly disjointed series of historical tableaux, materialities, marginalia, combustion and corporeal techniques in embryology, chemistry, geology, synthetics and magic. The double locus structuring this constellation is Hilde Proescholdt (1898–1924), a gifted German experimental biologist; and Abraham Gesner (1797–1864), Canadian physician, geologist and inventor of kerosene. Following Adele Clark’s SA research programme, I attend to situational maps recurring the experimental repertoires Gesner and Proescholdt with the material, social and artefactual historicities they environed. Through dérive, I narrate by displacement, cutting along the bias, rather than with the historical fabric. My aim is to contribute media ethology as variation on Robert Logan’s call for a broad spectrum media ecology that is agnostic to stable distinctions between content and container. I pay special appropriation to the signalling dynamics of the Spemann-Mangold organizer as an active media or, in complimentary phenomenal guise, Marshall McLuhan’s characterization of acoustic space as ‘all centres and no margins’. Proceeding through double-locus and doublemethod appropriates what Proescholdt’s supervisor, Hans Spemann, would have cautioned us against as bad magic by co-inducing interference between primary and the implanted organizing centres. Within the chapter, media ethology contributes a complex sum of SA+ dérive as a symmetrical mappings and non-obligate appropriations across inquiry and technique in the arts and the sciences. My discussion more broadly offers to enter debates on the relative merits and stakes for performative knowledge production and communication through the nexuses of art, science and technology studies.

During research for my artistic project involving human fat/oil I discovered a wide range of historic reference of its use. The extraction and use of human oil has not only been present in myths and magical rituals but also practically used for medicinal healing and skincare. Allegedly hunted down by Peruvian Pishtacos, who then sold it to the cosmetic industry, it was also extracted for use in pain relief or healing of adherent scars, as well as an ingredient for use in black magic. Human oil was sought as a lucrative product for centuries until early 1900. The proposal of my project HUMANOIL is a follow-up from my previous work where biofuel was made from my own fat. HUMANOIL will involve rendering human oil, the last oil produced, from my body, sought to offer anointing, white magic or pure skincare – your choice.

What is life and what does it mean to be in the living political universe of entitiness without rhyme or reason? Flappy exudate, a bag in a bag, corpuscles of corporeality, worms (or flesh tubes) with appendages, even the cult of first involution – these are our body pods and the hunger and thirst of being-in. How can the situation of anatomical form be analysed without the illusion of instrumentalized reflection? Perhaps by amalgamating the categories and their issues. The issuance of taxonomy is the actual fine muck of excrement, which every brick of ordered life leaks as exudence and decay. Deep thoughts leave a mucal snail trail of what was tabular-seeming about our bodily situation, our environs, our friends, our experiments and our nourishment. Especially in this current age of 露 露 and 娜娜 (Lulu and Nana), our first officially public transgenic kindred, the question becomes, ‘who are these free-living divergences and what does it mean to be the uber-ding beyond geoengineering’s capabilities?’.

Among the most enduring taboos, those related to the human body are the most enduring, throughout history. Be it its re/presentation of exploration, it constituted for most cultures and epochs a very sensitive subject, ever evolving and changing, but perennially raw and open to debate and discussion. With the advent of new technologies sustaining and infiltrating society, the body is seen, explored and represented in new ways that can be, simultaneously, interpreted either as transgressive or respectful of taboos, depending on the point of view or the current social norms. The question is: are we able to transcend transgression of taboos through our work or are we still far from achieving it? Our tools are computer-generated simulations based on patient-collected data. Building our arguments on Foucault’s Birth of the Clinic (1973) analysis, we approach the evolution of our own research as a ‘case study’. In the age of the life-support, stem-cell therapy and 3D organ printing, is computer simulation mimicking or mirroring organic life and phenomena, or is it creating a debatable simulacrum? From reducing the human body to a series of equations that lead to depersonalization and loss of self, to tailored modelling based on patient-collected biological data, the computer simulations took a variety of guises. At each point of the way, confronting the taboos, conventions and through controlled transgressions of established rules, we strived to transcend all historic limitations and update, adjust and fine-tune the technology and its uses to better suit the clinicians’ pursuits.

Scientific knowledge production is a domain of human excellence, but recently this position became progressively challenged by machine intelligence. Some human tasks will be conquered sooner; others, which include design, may still require human intuition. Would the automated knowledge production truly challenge the human, or is one just an extension – a prosthetic – of the other? What could be the place of art in such environment? Mess and messy scientific models have the potential to provide paradigm shifts in molecular modelling, cancer research and systems biology where not only living humans but also machine learning algorithms craft knowledge. Together with art they have the potential for different reading and re-framing, which are the qualities scientists are looking for when engaging works of art within their molecular modelling process. In my opinion, these are the same qualities scientists are also looking for in the outputs of machine learning and computational chemistry modelling.

Because the term ‘epigenetics’ has been used in a wide array of inquires within the life-sciences, it has come to bear a significant number of meanings. And just as biologists cannot come to an univocal understanding on what epigenetics connotes, the effect that its study has had in challenging contemporary neo-Darwinian, genecentred paradigms is also unclear. Some scientists and philosophers go as far as to say epigenetics has eroded dichotomies central to modern western thought, such as nature and nurture, or genotype and phenotype – but the matter ignites a great deal of controversy. What seems unquestionable, however, is that the notion that genetic material is a ‘programme’ that simply manifests itself in an external correlative, thus accounting for the development of a living organism, seems to have – at the very least – shifted. Rather than attempting to pinpoint the implications of epigenetics in contemporary biology, this article focuses on the ‘literary’ dimension of scientific debate: instability of meaning, metaphorical shifts, a redrawing of margins and limits. Furthermore, it will be argued that metaphor does not merely have a pedagogical value in the field but rather works proactively throughout the genesis, development and morphology of science and theory. By outlining a ‘literary’ dimension in discussions around genetics one can identify what Squier refers to as ‘the epistemological value of the imprecise’, which in the case of epigenetics seems to have jeopardized not only the boundaries between genes and their external correlatives, but even challenged the frontiers of traditional disciplinary discourse.

This article explores projects of art and biology as joyful acts of insurrection. It presents critical and creative perspectives to generate alternative structures of subjectivity. These alternative structures gain relevance when intersectional variables of privilege and discrimination as political tools are set in crisis by a postanthropocentric awareness. The thesis of this article is that in order to understand and develop postanthropocentric intersectional positions, the microbial posthuman joins the cartographies of the posthuman as a material possibility from microscopic biological matter and philosophical and artistic thought. This microbial posthuman also allows for a reframing in the light of microbiopolitics, a redistribution of pain, life and death within a broader notion of life.

The article presents artistic body interventions as tactics of minimal resistance to the governance over those bodies, i.e., resistance to the apparatuses that govern, control and manage our bodies, and those that also make our bodies sacred. This means the resistance to the apparatuses that separate my body from my own management. Giorgio Agamben calls for the strategy of profanation, for bringing back what was sacred to the use and property of humans. The author offers a thesis that the artistic acts that resist to the power over the bodies do not construct counter-apparatuses to the apparatuses of power, but they do challenge or even sometimes subvert the machines of governance over the bodies.

This article focuses on soils as more-than-human subjects who are both living entities and ‘lenses’ through which we may begin to rethink some of the conventional parameters of ecology, communication and even the grounding of some western philosophical traditions on which these boundaries have stood. Just as the very term ‘more-than-human’ potentially exceeds the relegation of both soilogic agents and animalities to subservient status, likewise this discussion embarks from a more-than-humanist (‘posthumanist’) position. As we attempt to interact with living systems and ways of being in broader, more expansive terms, it becomes possible to catch conceptual glimpses of less hierarchical ontologies as they are understood by some more-than-western cultures. I have also drawn inspiration from artistic, theoretical and political movements in the west that have sought to interrupt the primacy of Eurocentric humanism in institutions and philosophical arenas. This presages dirty thinking.

Herman Daly once identified the absurdity of shipping Danish cookies to the United States; if efficiency were in fact ‘economic’, one might just e-mail the recipe, save the fuel, reduce the greenhouse gases and still enjoy the cookie. This argument playfully illustrates that resources are scarce, ideas are Inherently Not Scarce (INS) and current financial systems are inefficient and not ‘economical’. The unprecedented industry of 7.5 billion people is now concerned about the resulting scarcity and pollution of the finite resource base. Until humanity shares inherently-not-scarce ideas for effectively managing what is in a steady state, scarcity and pollution will be a constant source of crisis on the landscape. Since 2004, I have made transforming colour field paintings with mud taken from the most pristine to the most toxic landscapes of northeast United States of America (NE USA). Although difficult to see individually, microbes existing within mud photosynthesize pigments. As a species grows from individual to colony, it becomes visible as pointillist pigments amass horizontal blocks of transient colour. As these bacteria express themselves (i.e., live: consume, reproduce, deplete resources, release wastes), they exhaust their habitat and create an altered landscape suitable to a successor. Like us, bacteria are bound by the law of conservation of mass; they constantly select and reject resources from the finite landscape. The resulting processes of growth and decay are intimately linked inversions resulting in beautiful transforming colourfields. As evidenced by my vibrant and literal portraits made from mud, these simple, highly adaptable, single-cell organisms craft a unique, colourful and synthetic existence. As a model system, they exhibit a viable steady state of infinite expression in a finite landscape where life and landscape is an intimate, malleable and reciprocal whole. Here I discuss the beauty of our landfill paradises, made evident by mud taken at two different kinds of landfilled ecosystems in New York City.

In 2015 the first mass migration and the first geopolitical and transnational crisis of the digital age began. This brought along the awakening of a new phase in slavery trade and trafficking of human beings (THB) at the European borders. In this article I introduce an ongoing field study I began in January 2016, in collaboration with experts from Spanish and European institutions, that so far has taken me to hotspots and borders, and to the accumulation of a vast multimedia archive. This led to the creation of zonaautonomamilitarizada.eu, an immersive/360°, interactive and reactive audio-visual performative system conceptually rooted in military technologies, second-order cybernetics and mass media developments.

This article aims to make a distinction among contemporary artworks that use algorithmic technologies. Departing from Science, Technology and Society (STS) studies, the focus is given to artworks that use algorithmic agencies, as assemblages of human and nonhuman entities. Making an ethno-methodological analysis of three artworks, The Pitiful Story of Deniz Yılmaz (2015–present) of Bager Akbay, Artificial Intelligence for Governance, the Kitty AI (2016) of Pınar Yoldaş and Plantoid (2015) of Primavera Di Filippi, the article examines paratactical use of algorithmic agencies in contemporary artistic practice. Exploring, revealing and learning from the tactics used by platforms, corporations and institutions that control and govern, paratactical use of algorithmic agencies generates a self-reflexive perspective on such tactics of control. Paratactical works also explore absurdities and contingencies embedded in algorithmic technologies. They work within failures and errors, and perform subversive ways of thinking, acting and enacting. In conclusion, paratactical works deal with the reproduction, distribution and normalization of ignorance, extinction, degeneration, corruption and destruction.

We investigate the Fourth Spatial Dimension, also known as ‘hyperspace’, by researching the capabilities of the human senses from the perspective of art and technology. The geometric approach of the fourth spatial dimension is studied through mathematical logic and the properties of simple geometric hyper-solids are examined. Focusing on the different ways that scientists and artists approached the Hyperspatial cognitive perception, we propose new aesthetic approaches by researching the capabilities of the human senses/bio-sensors and the brain. We present an interactive art installation for approaching the hyper-sound, with reference to the Varèse and Helmholtz description, but also in conjunction with gravitational waves, an interactive art application about visualization of Hyperspace resulting from our evolution of the Hinton Coloured Cubes Method and an artistic approach to connect Johan Van Manen’s intuitive ‘hypersphere’ with the Quantum Geometry of String Theory, proposing a new cosmological model. Through these methods, a reasoning is developed between the objective scientific thought and the freedom that Art offers generating a practical result: a series of innovative audio and visual stimuli created via innovative audio-visual digital technology. Hence, we merge computer science with sensory technology and artistic knowhow, to define the required knowledge base that today can be found in an emerging professional, the ‘technartist’.

This article critically investigates the potential confrontation that exists between mixed reality in Human-Computer Interaction (HCI) artworks that are, respectively, based on the concepts of phenomenology and Chinese Qi. My proposal is exemplified by the Industrial Technology Research Institute of Taiwan’s Flow of Qi (2007), which uses ultra wide band technology that instantly transforms the data of a pair of participants’ real-time breath into the replication of calligraphy masterworks projected onto the floor in front of the participants. To explore how efficiency of breath constitutes mixed reality in Flow of Qi, I draw a parallel between Qi, which is embodied as breath, and agency whereby, as discussed by Murray and Hansen, the notion of the perception-action relationship is emphasized. However, compared to agency, Qi is characterized as evoking ‘the unity of the cosmos with humanity’ (t’ien-jen ho-yi) because the participants are involved in a process wherein the masters used their brushstrokes to grasp the respiration of the cosmos. Therefore, employing the concepts of Chinese Qi draws out an anthropocosmic vision of mixed reality that links participants with the cosmos and manifests a Qi world-view through digital media.