Technoetic Arts - Volume 8, Issue 3, 2011

Beginning with one of the most remarkable characteristics of cyber art, ‘interactivity’, in a context of generalized hybridization of the procedures and technological devices available in the current hyper-technological era, this article will highlight the festive dimension within contemporary artistic practices, especially in its technological and digital components. In order to take both its ‘creationist’ and ‘reflexionist’ aspects into consideration, the proposed interpretation will adopt as its starting point the questions introduced by classical anthropology about festivity: What establishes community in cyber art? Which kind of community is established there and what is sacrificed in digital or cybernetic art? These questions are articulated with the discussion proposed by Hans-Georg Gadamer and Richard Schechner about the task of building the reflexive play that is found in the work of art as such. The purpose is to gradually present, throughout the article, the peculiarity of the experience of ‘the festive’ in computing and numerical arts.

This article in its essence aims to challenge and unfold, each at a time, two different fields of methodology – cybernetics and phenomenology – that have direct effects on the product of being and the process of becoming in architectural discourse. Furthermore, this article suggests a third way philosophy for architecture that relates notions of post-phenomenology and technoscience, and considers both to be equally vital to development and speculation within current architectural discourse. First, the history of each of the two fields – cybernetics and phenomenology – will be unveiled with a focus on exploring their impact upon architecture in particular and diverse fields such as other art disciplines, computer science and psychology. Second, a critique of the historic rivalry between pioneers in each of the two fields will be unpacked through their errors and limits. Third, the article will discuss attempts at converging the two fields in order to address the relationship of notions of humanism, machinism and technology. Finally, a declaration of the characteristics of such a convergence that will lead to a third way philosophy for architectural discourse will be asserted.

In an economy that increasingly trades in electronic information products, the copy assumes a new reversibility, as a figure at once valued for its rapid exchangeability and vilified for of its associations with counterfeit and fraud. The incorporation of confidence measures into the design of electronic information products is symptomatic of a primary crisis of belief installed within empiricist epistemologies, of which anti-circumvention technologies and knock-off economies are merely the incorrigible children. The aesthetic strategies practiced by Albert Oehlen and N.E. Thing Co., which mirror the information hiding techniques employed by steganography software and technologies of trust as well as the circumvention tactics employed to defeat them, register an emergent preoccupation in contemporary visual culture with structures of belief. They also disclose a Humean attention to processes of devivification, which figures in these artists’ work as an effect of the multiplication of the same. The trope of the ‘false bottom’ deployed in the 1930s novels of British artist and author Wyndham Lewis serves as intertext in this genealogical investigation of the politics of circumvention.

Understanding the interactive art experience requires investigation of relations among multiple (v)users – participants who are both viewers and users in interaction with the artwork and among themselves.

This article discusses inspiration, chance and the role of the unconscious mind in the creation of literature and art. Neurophysiological factors are considered, especially the aminergic – cholinergic brain chemistry system and how this relates to inspiration and original creativity. Surrealist poetry, computer-generated poetry and the Oulipo project are analysed to provide practical examples. Chance is discussed in some detail, as this phenomenon is a vital, though often overlooked, component in all creative endeavours. Though the article concentrates on the role of the unconscious mind in the production of creative literature, the processes discussed are equally applicable to all forms of creativity.