Technoetic Arts - Volume 2, Issue 2, 2004

The author has collaborated in research teams to visualize supercomputer simulations and real-time data. She describes these collaborative projects that employ advanced-technology graphics and novel digital displays that include large-format IMAX film, high-definition television productions, and a museum digital dome at the American Museum of Natural History. The popularity of these images and the function that they provide in popular culture are discussed. She also describes two key technologies that she was part of designing: IntelliBadge(tm), a real-time visualization and ‘smart’ tracking system; and Virtual Director(tm), a virtual camera choreography and remote collaboration system. The process of data-visualization involves the mapping of data from numerical form into an iconic representational form in the attempt to provide humans with insight and understanding of a phenomenon. This is discussed in the context of metaphor, cognition, and postcolonial theory. Because data-visualizations carry the ‘weight of scientific accuracy and advanced technology’, most general audiences confuse these visualizations as ‘real’; however, it is argued that data-visualizations are models and metaphors, not reality. In metaphor theory, the mapping of attributes from one domain of information into another is how humans understand, create, and engender new meaning. Data mapping is correlated with this theory. The author explores how the use of mapping information is culturally contingent. In the spirit of scientific inquiry, she deconstructs the very professional activity for which she is most famous.

In this article an expanded model of a constructed planetary self is sought, informed by the meta-discipline of “synnoetics”-a term coined in 1961 by Louis Fein in unpublished documents, to describe “the cooperative interaction, or symbiosis of people, mechanisms, plant or animal organisms, and automata into a system that results in a mental power (power of knowing) greater than that of its individual components.” (Fein, 1960) As the Net has brought about the death of the Cartisian cogito and the collapse of the Oedipal narrative, monolithic identity is renounced and replaced by a constructed identity of ubiquity. Synnoetics takes us one step further, as we are able to consciously construct a Synnoetic self as an aesthetic oeuvre, further challenging traditional notions of singular, monolithic identity and extending notions of the postmodern, decentered self into simultaneously new and ancient selves defined by shape-shifting, Psi-interaction, and cumulative, distributed, inter-species knowing. It is my position in this paper that the parallel trajectories of development in nanotechnologies; research in Psi and anomolous phenomena, and the proliferation of ubiquitous technologies has created a medium for the creation of a synnoetic self. The merger of these research agendas represent a fourth stage in the development of cybernetics, as the research facilitates an entirely new channel for information exchange and communication between humans, plants, animals, and machines, and consequently, for the construction of a planetary, aesthetic, beyond the human, self. The role of technology shifts, as it is used not to augment or extend human consciousness, but to measure the extent to which the boundaries of human, plant, animal, and machine consciousness are not known. For example, in Psi phenomena, consciousness needs sensitive technology to be understood and directed, thus consciousness augments technology, not the other way round. Psi phenomena as a form of wireless communication may be of profound importance to the future development of interactive ubiquitious interfaces, synnoetic intra-species minds, and a new, undefined context for aesthetic experience.

Buildings are solid, monolithic, static structures of steel, stone and glass. Buildings are at their most dynamic during the phases of construction and ossify from the point of completion. They occupy a different timescale to the rest of us, unlike the mayfly that enacts its lifespan in the space of a day, or our three score and ten, buildings emerge from a long gestation to face the elements for periods that can span a thousand years. Or they used to - increasingly the contemporary built environment ebbs and flows, generating a dynamically changing landscape as buildings are designed, constructed and demolished in the time it used to take to construct a model. This state of flux is enhanced by the addition of surveillance systems, telematic communication networks and environmental monitoring and control technologies. All these factors provide a new tangible dimensionality to contemporary architecture. Arch-OS is an ‘operating system’ that harnesses these new architectural, technological and social dimensions. Arch-OS, ‘software for buildings’, has been developed to manifest the social, technological and environmental life of a building and provide a living laboratory for cultivating transdisciplinary knowledge. Arch-OS buildings will be permanently in a state of flux. By feeding on the diverse forms of dynamic data that are generated by a building, its environment and its occupants, Arch-OS transforms the architect’s drawings, the brick, steel, glass and fibre-optic infrastructure into a living, breathing environment. Arch- OS provides users of buildings with a spatial and temporal consciousness, essentially re-programming human activity through a heightened social, architectural awareness. Arch-OS combines a rich mix of the physical and virtual into a new dynamic architecture, an ‘intelligent’ entity, that interacts, responds and anticipates: Arch-OS is a nervous system for multidimensional buildings. ‘Soft Buildings’ explores some of the ‘dimensions’ made manifest by Arch-OS. Specifically the generation of new kinds of space, a new kind of model, generated by a soft building.

This article discusses the image of the ghost as adapted by and to photography. It focuses on the evolution of the photographic ghost in relation to a distinctive manifestation of psychic photography (or spirit photography) prevalent during the early twentieth century. Psychic investigators observed that in some photographs the faces of spirits that developed on the glass-plate negatives appeared to have been handmade.1 More specifically, they looked like collages, composed of fragments of existing portrait photographs and prints, and of everyday materials, re-photographed, and superimposed on the plate in the manner of a double-exposure (Fig. 1). Several notable investigators advocated that this phenomenon need not be construed as evidence of fakery. There was another explanation: that psychic photographs contained portraits not of but by disincarnate souls, made from images drawn from the Spiritualist medium’s or the spirit’s visual memories of photographs of themselves, others, and objects, which were assembled, reproduced, and imprinted upon the photographic plate. Thus, psychic photographs were interpreted as being fabricated artefacts, born of an interactive collaboration between disincarnate and embodied consciousness, created (somehow) in the ether or a psychic aura, mediated via the camera (in some cases), and made tangible on the sensitized emulsion. This paper examines the unique and overlooked interaction between science and spirit, apparatus and appearances, and matter and minds, involving and connecting attendant and (purportedly) remote psyches.

New Visions in Performance: The Impact of Digital Technologies, Gavin Carver and Colin Beardon (eds.) (2003) . Lisse: Swets & Zeitlinger, 195 pp., 57 illustrations, ISBN 9026519664, Hardback, $87.