Technoetic Arts - Volume 8, Issue 1, 2010

This article is a theoretical enquiry about the death of the Brazilian citizen Jean Charles de Menezes, shot in London at Stockwell tube station on 22 July 2005 by unknown specialist firearms' officers. The previous day some stations of the Tube were struck by failed bombing attacks. The police were chasing four suspects. Some hours after the murder, de Menezes was discovered to be innocent and not involved in the terrorist act.

This article outlines a research agenda that addresses the question of how contemporary interactive arts practice can evolve new strategies or ways of facilitating the development and representation of subjective experiences that induce an embodied felt sense of the humanmachine co-evolution. To help answer this question, the term symbiogenic has been created as a shorthand or umbrella term to better discuss these types of experiences and the concepts they introduce. The term symbiogenic is taken from symbiogenesis, the evolutionary theory introduced in 1909 by Russian biologist Konstantin Mereschkowsky and expanded in the modern era by Dr. Lynn Margulis (1993, 1981). This theory emphasizes cooperation and other more complex interactions between organisms that go beyond mere competition. The research starts from the conception that there currently exists a range of interactive artworks that examine and engage with the increasing cooperation and co-evolution that humans are experiencing with their technological environment. However, what is proposed is that interactive or technological art can go further and provoke a bodily felt sense of this dynamic and thus bring into greater consciousness the co-dependent and co-evolutionary path of our relationship with technology. It is believed that these experiences can be both developed and identified within an artistic context but they lack a cohesive conceptual framework from which to study and analyse them.

This study starts from the premise that mandala is a design of the Cosmos and consciousness. mandala is a contracted and systematically designed cosmic space and represents high-level spirituality at the same time. The work of designing mandala is an experience with a sacred world as itself and constitutes a process of self-discipline. In other words, mandala is to ritualize the world of Buddhism beyond a design context and visualize religious experience through a specific object. Therefore, it serves as a medium that gets both producers and audiences to experience the sacred world. In this way, mandala is present as an experiencing design and a behaving medium.

This study aims to identify the archetype of empirical and synthetic design by analyzing mandala as an integrated icon for which the Cosmos and human beings or consciousness and matter meet each other. Spatial structuralization is considered most important in the icon of mandala. The space in mandala is the place where consciousness joins reality, which represents the state of enlightenment. Many multi-dimensional Buddhas coexist in the space, and they are arranged in harmony and in order. This visual structure allows mandala to play the role of interactive medium.

In the iconic shapes of mandala symbolizing a sacred world, major elements include a circle, square, semicircle, triangle and the numbers of 8 and 4. The respective shapes are matched to white, yellow, red and black, and the five different senses are connected to one another. The five senses are symbolic of earth, water, fire, wind and void which constitute the universe, and again they remain connected to five different parts of the body of a disciplinant drawing mandala: liver, kidney, spleen, lungs and heart. Those organs are associated with five Buddhas and in turn connected through the boundless space of the universe. By analyzing such a composite structure of mandala, this study tries to appreciate its in-depth meaning as an integrated design.

Originating within research on design cognition, the term design thinking has been growing in popularity over the past three decades, and has become a matter in a variety of discourses, assuming diverse and not necessarily congruent notions. In this article we suggest how to differentiate those discourses on design thinking and discuss its evolution into a meta-disciplinary concept.

Digital computers are by design completely deterministic, yet they are often consumers of randomness in cryptography, simulations, science experiments and computer games. To generate randomness in software, programmers implement special mathematical algorithms, which produce a series of numbers that appear nondeterministic, so called pseudo random number generators (PRNGs). Computer games make heavy use of such PRNGs to make game simulations and behaviors of game elements appear more natural. An important design element of many video games is game physics, the simulation of physical reality in video games. Generally overlooked by game developers, is the fact that randomness based on PRNGs are mere simulations themselves and randomness is not treated as a physical property of reality, and thus a form of game physics. Since the dynamics of the very small and the very complex invariably contains randomness, the author suggests this can be used to extend to the scope of game physics by defining two new game physics elements: 1. providing physics based random data to games or interactive media and 2. extracting true randomness from game-player interactions themselves.

The wearable technology field, including terms and areas such as wearable computing and fashionable technology, has been evolving at the cross-section of various disciplines including science, technology, arts, augmented reality, design, cybernetics, ergonomics and fashion. As an example, the research community in wearable computing has been carrying out profound work in understanding and defining many key principles in the field. According to these researchers, the wearable computer is understood as a kind of extension of the body, which enables it to perform tasks that would not otherwise be possible, such as being in several places at the same time.¹ This is an example of one of the approaches currently existing in this multifaceted field. The field also contains other detectable approaches, each with their own distinct aim. These approaches vary from developing solutions to engineering problems to developments in fashion and design and further to more conceptual approaches in addressing the field with what the author refers to as a playful attitude. When one investigates various projects in the wearable field more closely one can detect at least three clearly distinct approaches. The first approach is to follow the general guidelines for wearable computing development and objectives defined during the 1990s. The second approach sometimes called fashionable technology, to some extent follows similar directives as the first approach, but, in addition, it is strongly related to traditions and expectations in the areas of fashion and textile. The third approach has self-defined aims, which are partially contradictory to the general goals prevailing in the field. This third approach has been left almost without a notice in publications emerging from the field as well as in other theoretical writings concerned of art and technology. Until now the wearable technology field has been discussed primarily as one unified area striving towards similar goals.

This article investigates this third approach. It asks how and why some of the projects in the field seem to differ from the general goals persisting in the field, and examines what the possible motivations and intentions behind this alternative approach are. Lastly, the article introduces the Hybronaut as a concept related to the author's practice and research.

The imagistic promotion of the iconic city form is increasingly achieved by the deployment of the CCTV webcam system. This not only presents new material to mediate people's engagement with this space, but also offers new ways to materialize its actual three-dimensional form.

Recent design-based research conducted at the University of Technology, Sydney, shows that the function of the CCTV Internet cameras can be extended and adapted to provide a type of engagement with urban environments that subverts its more representational role and converts it into one that is qualitative and experiential. The article will discuss how the performative aspects offered by this virtual environment can be productively employed by the Internet user to not only create a new type of engagement with public space, but also, ultimately, to curate this space.

The article will also reveal how the strategic deployment of recently developed non-proprietary software can be used to intervene within the operational logic of the Internet camera to exploit its potential for use as a design tool. By the strategic recruitment of this software, raw virtual qualitative data from webcam images are processed to generate a formal response to civic space. This type of intervention, which utilizes the two-dimensional image as a platform for intervention within three-dimensional space, asks the designer to relinquish the techniques traditionally used to generate urban form and instead to capitalize upon the opportunities for material intervention offered by the spatial ambiguity of virtual and real-time environments. The exploration of the distortional optical properties associated with contemporary camera technology begins to suggest the development of a range of new techniques for design intervention that will continue to evolve in direct relationship to the technology they exploit.

This article will therefore discuss how the utilization of the interactive potential of the CCTV system can produce a new understanding of urban space that replaces any symbolic role for form with the affect of form. This range of unprecedented techniques can be seen to offer a new paradigm for material intervention within both virtual and urban space.

Combining genetic algorithms that produce complex, fluid, biomorphic shapes with probabilistic systems that incorporate randomness, the designers attempt to mimic adaptive systems in natural evolution in order to arrive at intelligent design solutions. The design processes are said to be interactive and sensitive to varying conditions, behaving like an exceptionally perceptive and adaptive organism during an evolutionary process (Somol 2004: 8687); this process can be compared to the recent attempt by the architectural avant-garde to move beyond the semiotic interests of deconstructionism and tap into the authority of the natural sciences. In some sense, an analogy can be drawn to natural evolution. In the natural world, adaptation and change result from an iterative progress, from one generation to the next, driven by mutation, recombination, and the survival of the fittest in the sense of selection. Following the model of nature in architecture, as proposed by some proponents of parametricism, should not be expected to make buildings more precisely adapted to particular circumstances and optimally functional. Evolutionary theory is used in contemporary architecture as a form of legitimization. It can also cast light on ethical issues, not reducing the human mind's creative intelligence to some sort of genetic determinism, developing in the free market of social choice. Therefore, searching for better ways of managing resources should be at the core of an adaptive concept of architecture.

From new practices emerge new domains. And from new domains emerge new competencies and roles. This article investigates some of the new competencies and roles emerging from the trans-disciplinary practice of curators, artists, scientists, programmers etc., which are involved in media art practice. Our hypothesis is that these new domains have a more general existence and profile in the paradigm of media art even though the following is based on the process of creating the MAP Media Art Platform at the Museum of Contemporary Art (MFSK) in Roskilde, Denmark, between 2005 and 2008, a process in which we both were involved as media artist and media art curator, respectively. Our focus in this article is to investigate further the status of these new competencies and roles, and to ask: what are these new domains that emerge with regard to the artist, the software developer, the academic, the scientist and the curator

In the first half of the twentieth century there was a remarkable convergence of art and design in De Stijl, Constructivism and the Bauhaus. But in the second half of the twentieth century fine art relinquished its liaison with design due to the influence of Dada and Surrealism's postromantic antagonism to practical-functionalism. Dada and Surrealism and postmodern fine art are characterized by a critique of the dominant social discourse of functionalism and the demand for a sublime poetics to be brought into everyday life. This article argues that the apparent antipathy between postmodern fine art and design can be ameliorated if we critically analyse interpretations of evolutionary theory by postromantic philosophers such as Nietzsche, Bergson, and Deleuze and Guattari. When Bergson notes that practical-functional reasoning was created by evolution he reveals a flaw in the pursuit of an aesthetics that is totally opposed to commonsense and practical-functionalism. And when we turn to Deleuze and Guattari we find another valuable concept in the form of their notion of the machinic, which assists further in reconciling the postromantic emphasis on the sublime with the practicality of mechanism. Moreover, Deleuze and Guattari's notion of the machinic is informed by chaos theory, which allows further elaboration in terms of complexity theory. Complexity theory can be understood as a process philosophy that has no need to figure the sublime in terms of a mysterious force of nature because the mystery is located within complex interactions among a manifold of components, what one might refer to as a cosmic, machinic, combinatoire that arises out of what Christopher Langton has called the edge of chaos. This makes it possible to replace the emphasis on desire as the fundamental force of nature evident in Nietzsche, Bergson, Deleuze and Guattari with a complexity-theoretical concept of a cosmicmachinic combinatoire. It is then possible to formulate a machinic, evolutionary aesthetics that can reconcile the postromantic demand for sublimity with the demand for practical-functionalism that lies at the heart of the discipline of design. In place of the modernist machine aesthetic that informed De Stijl, Constructivism and the Bauhaus we would have a postmodernist machinic aesthetic.

The author analyses the design of her collaborative animation about inattention blindness, the phenomenon of not being able to see things that are actually there, and compares it to related scientific research.¹ The term was coined by Arien Mack and Irvin Rock in 1992. Stealing Attention, co-created by the author and neuroscientist Michael E. Goldberg, Director of the Mahoney Center for Brain and Behavior at Columbia University, explored inattention blindness. Animated images of hands playing the con game Three-Card Monte were superimposed over images of antiquities stolen from Iraq. The flashing cards, yellow circles and stated instructions distracted the viewer from seeing the images of stolen antiquities, which disappeared from depicted shelves one by one over the time span of approximately three minutes. The author considers five questions: What is perceived without attention What does attention select Under what circumstances can attention be shifted Is an observer trained in art less likely to be distracted Can attention be trained

The Diagnostic and Statistical Manual of Mental Disorders-IV-TR treats dissociation as a disruption in the usually integrated functions of consciousness (American Psychiatric Association, 2000). Survey instruments used to measure dissociation incorporate questions that focus on depersonalization, de-realization, and dissociative-identity disorder (DID). The self-administered Structured Clinical Interview for DepersonalizationDerealization Spectrum (SCI-DER) asks a subject if they ever felt that your body did not seem to belong you or you were outside your body (Mula et al. 2008). This last question references what is also known as the out-of-body experience (OBE). In some cultures and religious practices OBE is considered desirable. Research has shown that OBE can be induced. For users of the virtual world Second Life, OBE is the default point of view (POV). Users are represented as avatars that look unreal and one's surroundings look unreal. Yet reality testing is intact (American Psychiatric Association, 2000). Many users have multiple avatars, which enact distinct identities or personalities, and this fits the criteria for dissociative identity disorder. To experience any of these disorders in real life may be considered undesirable, even pathological. But for users of Second Life such dissociative experiences are considered normal, liberating, and even transcendent.

When we reframe design through a discourse, designing on a meta level, we are actually designing design, as we are giving design a different meaning, changing frame to include or exclude what we do or don't consider as a part of the field. Therefore we need to frame at first what we understand in speaking about design. And it is far more complex to speak about media design, since it triggers the idea of designing media. Marshall McLuhan's thoughts on media will help to explore what a media designer actually does; what he designs. However, if the digital media comes into place, the new medium, the digital medium, suddenly is the major carrier of all of society's messages. How does it change the designer's work, and does it require a different designer

Transformation can only occur through behavioural evolution.

Global consciousness, collective intelligence and other similar utopian expressions fill the pages of books, websites, blogs and academic articles as once again the promise of transcendent transformation via new technology fills our techno-romantic hearts with hope.

Past promises have often led to disappointment. It is clear that ideals will not be attained by the simple advance of technology. If, as Marshall McLuhan asserted, our tools shape us we need to examine our media, new and old, from a behavioural perspective in two directions: how the media behave (as systems, as tools, as environments); and how we behave as users, participants and members of these systems and environments.

This article illustrates this thesis using behavioural aspects of two current phenomena: social media (Facebook, Twitter, etc.) and music. Using concrete examples, it indicates paths to lead us from a mechanical, consumerist, technology-oriented notion, the information society, based on quantitative accumulation, towards the transformation society in which meaningful human interactions are encouraged proactively. We need to educate our children about media behaviour, much as we have always educated children about other social behaviours.

Although the popular view of design as enhancing beauty and functionality is not wrong, it is not enough. By thinking of design as not only aesthetic (enhancing beauty) and purposive (enhancing functionality) but also as discursive, this paper addresses the increasing prominence of design, and gives a criterion for evaluating design, by asking what kind of discourse it should be. Design, I contend, ought to participate in rational, as compared to commercial or authoritarian, discourse. Commercial discourse reduces humans to consumers, and authoritarian discourse divides humans into masters and slaves. Rational discourse envisions humans in the highest possible terms, as holding equal place within the real, and equal standing before the truth, and therefore as sharing common cause with one another, at all times and places, and under any conditions. Commercial and authoritarian discourse both attempt to consolidate agency in the hands of a few; rational discourse, to distribute agency equally to all. Design is among the enterprises for which the obligatory work is rational discourse, and the stakes thus the fullness of our humanity and the humanity of others.