Technoetic Arts - Volume 8, Issue 2, 2010

During a showing of the video Some Everybodies, which observes tourist behaviour at a non-tourist site in Bath, the work will be discussed as evolving through non-dualist processes of film-making (enabled through new technology), whilst also attempting to create a non-dualist filmic experience for the spectator.

Shot with a fixed-frame camera at a corner scene (which is the site of a minor accident), the film does not possess a traditional narrative structure or design, and has been described as a moving painting. There is no central character (people are viewed more as moving bodies), and the momentum (rather than linear progression of scenes) has been made entirely in the editing suite, rather than on-site through a directorial eye.

Dialogue from the site has been included as a multivalent communal poem that scrolls as subtitles beneath the images. Here the traditional understanding of subtitles is, once again, questioned, and they no longer exist as semiotic colonizers of othered national experiences, but evolve as asides from the passers-by themselves.

Time-as-intervention will be discussed through the bleached colouration of the pictorial image, reminiscent of old postcards. This visual sense of well-worn familiarity is juxtaposed against a soundtrack that has been slowed down, creating primal groans and utterances. The significance of still-images within film-making will be explored, as the narrative freezes whilst the tourists themselves freeze, or snap, their own narratives. These mementos are also included on postcards and posters as part of a larger installation.

The walk-through, yet high-walled cross design of the installation creates corners (said to be the places where people meet), and optimal viewing points a tourist leit-motif. The site is designed to illustrate the dislocation of time and place, where images of the video site (as posters and postcards) are seen before the video itself. Reference will be made to film-maker Joseph Robakowski, artist Barbara Kruger, the scientist Dirk Helbing (with particular reference to dynamical flow and pilgrim crowd behaviour at Mecca) and film theorist and film-maker Professor Laura Mulvey.

Landscape is a cultural construct, a way of conceptualizing and experiencing place. If it is true that our shaping perception [] makes the difference between raw matter and landscape (Scharma 1995: 10), how do designers and the technologies they use shape that perception? How do the various technologies and techniques that are used to represent landscape in the twenty-first century frame how we perceive nature in our minds and how we sense it through our bodies? This article explores the way so-called natural landscapes are conceived, represented and designed by professionals within contemporary culture. By interrogating how experiences of place are constructed through three mediums webcams, large-format cinema and landscape architectural design an intertextual picture of contemporary landscape emerges that is simultaneously virtual, hybridized and real.

Since Norbert Wiener presented a new research field called the study of control and communication in the animal and the machine, the biological and the artificial universes are each time more integrated as pieces of a game that involves science, philosophy, technology, arts, architecture and several other fields. It is astonishing to take a look at an imaginary non-linear timeline where it is possible to see the ancient Ars Mnemonica inspiring the Leibniz combinatoria and how all these virtual knowledge structures inspired the development of a communication and control machine called the computer. A machine that is quite an exploded black box artificial systems integrated into biological systems in a cybernetic structure through which most diverse kinds of information flows. We are living in times in which the logic of this machine becomes the core of our post-biological era in its essence, the era in which the biological and artificial realms are immersed in one another. An era in which we see [] humans in fact integrating with the fiction of their imagination as conjured up digitally by the computer, and in which the digital arts emanating from the cosmology of number are also a link between digital finality and infinity imagination, defending man in his impossibility to be simulated (Weibel 1999: 222). Considering this panorama in the contemporary artistic context, it could be stimulating to think about interactive digital art installations as systems in which the elements are both organic and artificial, both physical and virtual, interconnected like they were performing a cybernetic ballet. The aim of the present research is to study this choreography using the complex sciences framework. Following this objective, a series of parameters based on systemic measures of organization and complexity were structured. Our intention is, obviously, not to say that the work of art is more or less systemic, more or less complex or organized, but to help in understanding and to conceive the installation as a system: a complex adaptive system (CAS).

This article suggests an assembly of ideas collected from transdisciplinary areas that in integration can potentially cast light on the role of affect and feeling in aesthetic experience. The article takes up a well-known philosophical quest to define the nature of aesthetic experience, but seeks out new territories of explanation that rest upon principles of rhetorical integration across a seemingly ambiguous landscape of separated theories, and under a dynamic, connective observatory perspective. The aim of the article is thus to suggest a rhetorical design integrating results from the fields of neuroscience, biosemiotics, medical theory and philosophy of art, which could potentially result in an extension of traditional understandings of the roles of affect and feeling in processes of communication. I see the space of installation art, based on new technology and science, as a possible laboratory for the speculative mind, to which such investigations could be successfully related. I find that contemporary installation artworks can if successful induce an activation of processes intrinsic to the bodymind, which can bring forward new imaginations, new metaphors and extended self-understandings.

In this article, we will firstly explore the concept of connected design; secondly, we will explain how environments can be understood as interfaces for knowledge; and thirdly, we will expose the characteristics and objectives of the project Wired Book & Electronic Margin, which is part of a larger project called Universal Margin, as an example of connective design. Lastly, we will show the benefits of contextualizing information and transforming the world into a connected and lively real-time library, to underline how connected design can facilitate a bottom-up construction of knowledge.

In this article, the artist/author wishes to examine corporeality in the virtual realm, through the usage of the (non)-physical body of the avatar. Two sister art installations created in the virtual world of Second Life, both of which are meant to be accessed with site-specific avatars, will provide the creative platform whereby this investigation is undertaken. While the installation Anatomia aims to propel the visitor towards reflections of an introverted nature, involving the fragility of the physical self, body parts seeks to challenge the residents of virtual environments to connect with the virtual manifestations, i.e., avatars, of others in an emotionally expressive/intimate manner.

We are living in a time of meta-organics and post-biology, where we perceive everything in our world as customizable and changeable. Modelling biology within a technological context allows us to investigate GEO-volutionary alternatives/alterations to our original natural systems, where augmentation and transmutation become standards in search of overall betterment (Genetically Engineered Organics). Our expectations for technology exceeds ubiquitous access and functional perfection and enters the world of technoetics, where our present hyper-functional, immersively multi-apped, borderline-prosthetic, global village devices fail to satiate our desires to be synaptically surpassed. Most real-time interactive behavioural systems in art utilize two and three dimensions. Artificial neural networks and prediction (Latin: from pr- before plus dicere to say) systems give rise to experimentation within the third-plus-one (3+1) dimension of the spacetime continuum.

Spacetime in accordance with string theory requires the where and when to describe something in existence, rather than mere points in space. It explains the workings of the universe from both super-galactic and subatomic levels. Physical cosmology studies the motions of the celestial bodies in relation to the first cause (ie. primum movens) or the source of all-being.

In book 12 of Metaphysics, Aristotle spoke of something which moves without (itself) being moved (by anything), and referred to being as motion. In quantum mechanics, a particle is described by a wave. Physiognomy is an evolving area of psychological research that describes a direct correlation between human gesture (or movement) and thought. Early twentieth-century Persian philosopher Abdul-Baha mentioned that the reality of man is his thought, not his material body. Prediction systems apply models of the mind, or artificial neural networks and machine learning strategies, to use the recorded past with the present to anticipate the future. This article investigates existing human and artificial psychic systems in hopes of identifying tools necessary in building a gesture prediction system. The relationship of intent to gesture and whether intent can be perceived without the evidence of gesture are two factors that must be tested.

This article documents a project that deals with the application of a generative approach for creating audio-visual narration. The project investigates the possibility of producing spatio-temporal montage, offering a kaleidoscopic view of pre-recorded events. Fragmented narratives synthesize a complex whole, which evolve in space and time according to the viewer's behaviour in space. Thus, the viewer becomes the player of a live, constantly changing puzzle. The aim is to create new experiences derived from the synthesis is being pre-recorded memories, according to kinetic commands. A kaleidoscopic narrative is being created according to users' placement, to their movement in space, and to interaction between them. The system's narratives are different if a single observer is interacting with it via his displacement, or if many observers are moving independently towards different directions or as a group. Two kinds of interaction are being developed: humanmachine interaction and humanhuman interaction. Condensings and rarefactions are perceived by the system as different stimuli, and thus they lead to different audio-visual narratives. The environment created by the system is planned to be both procedural and participatory. It is led by rules and by people at the same time. It reacts to the users' acts and is offered for multiple simultaneous personal readings. When interactive environments are offered for simultaneous readings by a number of users, they are altered in a way that depasses the sum of individual interactions, creating an emergent narrative and a collective memory. Video as a means of projecting recorded memories is being edited by the system in order to provoke new experiences and connotations, through semantic montage.

Every artistic practice implies, either explicitly or implicitly, a metaphysical framework within which its specialized activity can be understood. In furthering communication and sensorial connections, telematic arts interface with computer systems, biotechnological arts interface with biological systems, and sculpted prims interface with metaverse systems. In this article, I review artistic practices that engage preliminary aspects of human enhancement and, in some instances, begin to extend personal existence over space and time. Specifically, this article asks: what is the perception of human enhancement that permeates these artistic works and gives them meaning? Answering this question suggests where artistic media of the cyborg, transhuman and posthuman are potentially headed.

The objective of this investigation is to initiate the development of a design-specific methodology for synaesthetic research, which will provide insight into synaesthesia from a designer's point of view. In addition, it aims to explore the possible advantages that the awareness of the phenomenon may have, specifically in the field of design education. The following question will be addressed: Can transdisciplinary studies of visual communication and neuropsychology help designers explore different practical approaches and theoretical views about synaesthesia?

This article concerns mobile technologies and the possibilities of engendering mediated presences, perceived as usual actions. Those devices have been embedded into the individual everyday practices, occupying personal spaces and making us share emotional and affective moments giving continuity to our anxiety and comprehension of the world. The theoretical approaches bring the understanding of playing and experiencing sensory states as enactive knowledge and Goffman's thoughts about co-temporality and users behaviours as social rituals. The bodyspace relation and the technological artefacts have been articulating the construction of the reality as a phenomenological experience.

We live in layers of mixed realities with continuous conflicts, negotiation and becoming. I find it interesting to look at our situation as a continuous struggle in the fusion of virtual/actual presences, and machine/human. However, we seem to be far from understanding these relationships. Maybe the problem lies in the questions themselves, promoting unidirectional preconceptions. By reversing the questions, we might be able to identify something that has been missing in previous discussions:

Can we talk about disconnection to further discuss connection?

Can we talk about distancing to further discuss the process of becoming?

Can we talk about love impossible, to further discuss love?

This paradoxical journey would maintain us in the continuum of struggle and massive doubts, and encounter deep aspects of human being. In this article, I examine the Korean cultural psyche called han in the context of a paradoxical state of consciousness and the story of love impossible, and argue that han is a driving force of transformative ritual in human consciousness. Beyond cultural boundaries, this article also positions han in a microscopic view of contemporary life. han underlies paradoxical human relationships with objects, and with my virtual puppets, in the context of distance, disconnection and love impossible.

This article proposes to build up a relation between living conditions and the possibilities the Internet is offering to dream about new territories and transgressions. The Internet as the space to trespass physical frontiers; a media used for artists to question geo-political boundaries and to create new meeting points.

This article presents research on assemblages among humans and computational systems in which physical and virtual autonomous processes occur in order to create artworks allowing the emergence of mixed sensory set-ups. It begins with triadic relationships computer, physical objects and participants aimed at co-relations among bands of bots (virtual and physical) with groups of humans (interactors). The bots have a representation of the virtual world: physical bots live on a flat surface (Abbot 1991), a projection of the 3D environment where the virtual bots live. The artwork also explores the metaphor of higher dimensions being understood through their projections in lower dimensions. Its goal is to weave interaction and autonomous processes, looking for poetic results integrating art, science and technology; results with aesthetic, poetic and functional qualities; and results exploring emergency and agency for design, construction and set-up of expressive systems. For these symbioses to happen the assemblage of environments with aesthetic and poetic appeal leads one to think about mixed cognitive processes that provoke emergent behaviours. I am interested in the behaviours emerged in such inter-relationships. Therefore, to achieve this goal, I have created a Java framework that allows me to program interfaces weaving such behaviors1 and also I have programmed a set of sketches using Processing2 to test the hypothesis. The main inquiries of such research are as follows: What kind of artwork could mix people with autonomous computational processes without becoming invasive? and Is such a dichotomy possible? To answer these questions, I came up with the idea of playing with swarms and flock algorithms mixing virtual and physical domains. Will this create the mixed behaviour I am looking for? Will the participants contribute with their actions, emotions and affects while the computer develops its own autonomous processes?