Technoetic Arts - Volume 5, Issue 2, 2007

Cultures from around the world have long turned to the dome of the heavens to better understand the cosmos. This perceived curvature has manifested architecturally throughout the world, and domes have been used to enclose the most sacred environments of many cultures. In the 20th century, it became possible for the first time to radially extend mental images onto the dome screen using projections of light. The ability to completely immerse the visual field of audiences in a mediated environment, made possible by advancements in engineering, mechanics, and electronics, was seized upon by numerous pioneers across a wide range of contexts. Like their historic predecessors, these modern multi-sensory sanctuaries continued to reflect the cosmologies and motivations of their creators, subtly affecting the evolutionary trajectory of the cultures from which they emerged. This paper is an attempt to shed light on the largely forgotten history, context, and motivations behind these early dome theaters.

This text includes a series of considerations which were detailed during the event1 organized in 2006 by Emanuel Dimas Pimenta, on the subject of The Spirit of Discovery.

These considerations relate to the present situation of contemporary architecture, which has gradually been marked first by the phenomenon of digital information and, more recently, by a biotechnological vision. Although the influence of the former has been firmly established, the latter serves as the inspiration for a mutant generative architecture, and leads us to consider the interface between body, technology and space. Initially this text points out the cultural interference and spatial resonance of the well-established Information Society, reflecting the current life of an urban-architectural space marked by the omnipresence of networks and informational-digital phenomena. Subsequently, the minute scale of the interface and the interaction between the body and technological space become critical questions. On a larger scale, complex, self-organizational dynamics will come to dominate our understanding of the meta-territory of the future. Therefore, the contemporary condition suggests the need for a dialogue between the infinitely large and the infinitely small, within a spirit of discovery regulated by the incompleteness of knowledge within a Godelian consciousness.

This paper responds to Are the Semi-Living semi-good or semi-evil? (Technoetic Arts, 2003) in which artists/authors Zurr and Catts state that there is not, as yet, an existing discourse that deals with the Semi-Living a new life form created for the purpose of artistic engagement using the tools of tissue engineering and stem cell technology. As a means to reflect on what a discourse on the Semi-Living might include and exclude and to create the potential to say something different beyond the artists own discourse, this paper initiates two approaches. First, it considers that which the Semi-Living defers by working from Zurr and Catts contribution, which I argue evokes a both/and logic that echoes the Derridean deconstructive event. Secondly, it proposes a genealogy of the Semi-Living using a figure of Roman archaic law, homo sacer (sacred man) who shares with the Semi-Living a life exposed to death (Agamben 1998). The symbiosis of these two approaches identifies, problematises and contaminates the limits of acceptable discourse concerning the Semi-Living, concluding with the proposal of a semi-discourse. As the transdisciplinarity of bioart increasingly becomes the focus of academic and artistic inquiry, this paper signals towards the importance of critically acknowledging a community of artists writing and working within the academy, stipulating the acceptable discourses of their practice.

Corposcopio is a collaborative project that integrates two different worlds or territories: circle dances and new media technologies. Ancient circle dances are cultural manifestations present in different countries around the world. They have a great power of community integration and provide a unique experience of extended consciousness. In Brazil there are a number of amazing circle dances and one of the most popular is called ciranda, whose movements are inspired by sea waves. Ciranda is performed by hundreds of people and some participants fall into a trance. The purpose of the interactive performance is to stimulate, simultaneously, the perception of the media in contemporary reality and the collective body emergence. Corposcopio invites the participants to experience some circle dances and aggregates real-time image manipulation, software art, VJ and remix aesthetics. The transparent, ubiquitous and pervasive presence of computer systems in contemporary spaces is a quotidian fact. Nevertheless, the emergence of digital communities demonstrated the power of the human factor in the disruptive use of technologies. Human beings are social beings. Our depart point is to invite the participants to dance within the scenery of real-time image manipulation, ubiquitous computing and mixed reality. The performance itself deals with co-creation development and uncertainty. Each performance has peculiar characteristics hence it is an open system, open to receive the group interaction and participation. The experience stimulates an extended consciousness, a simultaneous perception of the individual body and the collective body. Our hypothesis is that each group will catalyze the emergence of an embodied consciousness of our mediated situation in a different way. As Bernhard Wosien (1988), one of the pioneer researchers on circle dance, has said, dance is a path to totality. In Wosien's view, circle dance has deep ritual characteristics and evokes a tremendous collective enthusiasm.

Mobile technologies and networks facilitate the delocalization of traditional power structures within an economic frame. This shift usually incorporates the discourse of the body creation as well. Our bodies are constructs in which individuals as well as and social perceptions and projections, reality and fiction fuse together. In a similar way, we doubt about the representation of reality and highly editable and generative images.

Nonetheless, some forms of bio-power can be identified in contemporary constructed mental images such as race or ethnicity usually linked to religious or linguistic differences that are traditionally used as borderline zones. Many examples can be traced back to representations of both fauna and populations of the new world in colonial America. This phenomenon has also emerged in representations of cyberspace even though Internet is advertised as a place in which traditional distinctions and imbalances in power between individuals have been effaced.

If Zizek's statement is true that in order to capture the spirit of an age you should not look to explicit social structures but rather to the ghosts that haunt us, and live in a region of nonexistent entities, the topic of globalization should not put aside issues of immigration and multiple representations of race. This situation is inherent to the present and future construction of both cyberspace and public physical space. Media imaginaries create a myriad of information that also includes artificial savages. This fact constitutes what some artists provocatively call a rather explosive universe of cultural misunderstanding under a new world border.