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- Volume 6, Issue 3, 2009
Technoetic Arts - Volume 6, Issue 3, 2009
Volume 6, Issue 3, 2009
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Nanoessence: God, the first nano assembler
By Paul ThomasThe Nanoessence project aims to examine life at a sub-cellular level, re-examining space and scale within the human context. A single HaCat skin cell is analysed with an Atomic Force Microscope (AFM) to explore comparisons between, life and death at a nano level. The humanistic discourse concerning life is now being challenged by nanotechnological research that brings into question the concepts of what constitutes living. The Nanoessence project research is based on data gathered as part of a residency at SymbioticA, Centre of Excellence in Biological Arts, University of Western Australia and the Nanochemistry Research Institute, (NRI) Curtin University of Technology. The space of the body can be seen at an atomic level as having no defining boundaries. More generally, molecular self-assembly seeks to use concepts of supramolecular chemistry, and molecular recognition in particular, to cause single-molecule components to automatically arrange themselves into some useful conformation (reference Wikipedia). Nano assembly, or bottom-up approach, is the construction of a supramolecular chemistry by the assembly of nanoscopic particles, or even atoms and molecules. The proposal for nanotechnology to reshape nature atom by atom develops an interesting debate as to the constitution of life. The Nanoessence project aims to construct a physical experience to examine this scientific and metaphysical world. Nanoessence is an interactive audio-visual installation. In the Nanoessence installation the viewer will interface with the visual and sonic presentation through his or her own breath. In the context of the project breath has a strong conceptual and metaphorical link to a Biblical inception of life. The project attempts to maintain a high quality of authentic data to engage the viewer in a sensorial qualitative experience of quantitative data.
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New media art as research: art-making beyond the autonomy of art and aesthetics
More LessToday we come across new media art projects as post-industrial art services that occur at the intersection of contemporary art, new economy, post-political politics (activism, hacktivism), technosciences and techno lifestyles. The artwork is not a stable object anymore, it is a process, an artistic software, an experience, a service devoted to solving a particular (cultural and non-cultural) problem, a research, an interface which demands from its user also the ability for associative selection, algorithmic (logical) thinking and for procedures pertaining to DJ and VJ culture, such as mixing, cutting, sampling and recombination.
The art service is not so much the manufacturing of things as it is a process of reshaping the thing, moving it, repurposing it, connecting it and incorporating it into new contexts and relations. The service presupposes a problem, a challenge or an order to be solved or carried out. The performer of the service is always faced with a certain task, challenged to solve it in a sequence of steps, chosen as economically as possible. The service therefore ends with a solution of the problem (or its removal) and not with the manufacturing of a finished object. The service always implies an algorithmic procedure that has to be as rational as possible, economical, divided into phases, steps, instructions needed for it to be carried out. By defining the new media art in terms of post-industrial service activity, the traditional concepts of aesthetic and autonomous art are left behind and replaced with novel theoretical devices, e.g. software, repurposing, remixing, recombination, rewriting and hybridization.
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Exploring the intelligent art installation as a space for expansion of the conscious mind
More LessThis paper argues for the digital interactive installation artwork based on principles of complexity as an interface with the potential to evoke ekspansions in the subjective experience by confronting the user with an idea of abstract thought, created through a conceptual design, and experienced through bodily interaction and contemplative acts at symbolic levels. The claim is, that ideas presented through good artworks based on the coalision of science and technology can potentially create a synthesis between ideas inspired by the philosophies and empiricisms of the physical-material world view, but also of a higher, spiritual dimension, in which new possibilities of knowledge are potentially to be found. The article accepts the thesis of cognition being the cause of evolution, rather than evolution of man being the cause of cognition.
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Biobehavioural basis of art
By R. F HarleThis paper argues that the human activity of art making and art usage has a biological foundation which precedes language acquisition. Together with cultural dynamics we have created ourselves as we have created our arts. I attempt a synthesis of the theories of Dissanayake and Joyce which shows the human trait of art behaviour evolved as surely as did the behaviours of mating and hunting.
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Exploring hypermedia through the myths
More LessNowadays hypermedia constitutes, with its singular characteristics, a new language whose structure seems to be complex because it includes features such as multiple simultaneous paths, multiplicity of voices, the simultaneous manifestation of ordinary and scholarly languages and the mixture of means, genres and verbal, visual and aural languages. However, behind its complexity, hypermedia can reveal simple structures of order. Comprehending its nature, we can better construct using its language. This has great potential for creating narratives understood as universal manifestations of human discourse through which people share their comprehension of the world.
Using a parallel between the narrative structure of hypermedia and that found by the anthropologist Claude Lvi-Strauss in South-American indigenous mythical narratives, I looked for an alternative perspective for the comprehension and manipulation of the hypermedia logic structure and the resources it mobilizes to form a coherent whole, such as the temporality and spatiality of narratives, symbology and metaphors and its own alternative means of producing meaning.
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Leni Riefenstahl and German expressionism: research in Visual Cultural Studies using the transdisciplinary semantic spaces of specialized dictionaries
More LessThis paper reports on an analysis of the work of Leni Riefenstahl, and German expressionism, through the use of trans-disciplinary semantic associative search in specialized databased dictionaries1. Within this database space (Kitagawa and Kiyokim 1993), the quantitative data of objects as representation can be visualized by number. While the method of image analysis is qualitative, it is based on a quantitative analysis of visual representation. Through this analysis, Riefenstahl's film Olympia Fest der Vlker is compared with the Nazi ideology of the body image. The film is often categorized as romantic; however, this paper proposes a new interpretation based on theories of Jonathan Crary, and Martin Jay, which are combined using the mechanism of connotation in searching database systems. We proposs that, in the context of Visual Culture Studies, the use of digital technologies may provide new possibilities for research in the humanities.
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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)