Technoetic Arts - Volume 9, Issue 2-3, 2012

The following article is a report on inevitable intervention in the current state of affairs in well-intended and well-funded projects based on obsolete categorization of art and science. After unsatisfactory outcomes, on the disappointment of project directors themselves, a productive collaboration between artists and scientists is still desperately sought after, without considering with subtlety a re-categorization that is already happening. This intervention is an ‘in advance reminder’ for foreseeable recognition of the current state of affairs, a reminder of the sensibility necessary to recognize, as soon as possible, the accelerating rate at which concepts are continuously becoming obsolete, and the increasing fluidity of our intellectual and intuitive production.

'So mote it be …' describes a trinity of artworks by Mike Phillips that explore the delicate relationship we have with the extremes of our perception. These data-driven sonifications and visualizations play with the atomic forces that bind the material world as measured through the atomic force microscope (AFM). The works try and locate the trauma of seeing things that are invisible and beyond the resolution of the human eye to a history of cultural experience that similarly tries to see things that might ordinarily have been perceived as occult or at the very least the product of Hollywood.

The Consciousness Reframed proposition is exciting because it is both interdisciplinary and offers the possibility of a macrocosmic perspective on the world – a view of the world as simultaneously a whole in itself, the sum of its parts, and as part of a wider whole – or as Koestler put it, ‘After a period of some 500 years when the western eye has been focussed primarily on the microcosmic, scaling up from the micro to the macro does not at first come easily’. Global civilization has too often been misled by grand narratives – never more so than in the twentieth century, when grand narratives of race and class slugged it out bringing death to millions. On the other hand the planetary ‘big picture’ nowadays forces itself upon us through global information networks that all of us simultaneously share in a time-compact world. As such we are creatures of the macrocosmos, whether we care to acknowledge it or not. The Planetary Collegium, this article suggests, is a beach-head on the shores of a macrocosmos awaiting both discovery and re-discovery.

Enhancing the usability of the brain, as a more intriguing alloy for interaction design, by employing the Brain Current Interface model (BCIm). Instead of studying interaction design through the angle of cognitive semiotics, where signs and signifiers produce meaning, I propose, in this case, to approach the paradigm of interaction design from a metaphorical angle, as a product of perceptual and intentional consciousness. Through this disposition, I argue, it is possible to approach the hypothesis of bringing together the use of non-invasive brain computer interfaces (BCI) and the field of contemporary neuroscience, especially the role of the chemical modulation on a cellular level of the brain while learning, in order to propose a model for interaction via deliberate attention, that influences cognitive performance and advances well-being of individuals of any age.That which was previously mentally projected, which was lived as a metaphor in the terrestrial habitat is from now on projected entirely without metaphor …

The dynamics and fusion of multiple media into one space has been thoroughly studied by Frederick J. Kiesler. His investigations into a multi-dimensional, space are in fact the beginnings of what would become a radically new concept of form and content appropriately called ‘Endless Space’. In the 1930s entitled the ‘Correalist Theory’ believes that the essence of reality is not in the ‘thing’ itself, but in the way it correlates and orders itself to its environment, to its spatial dynamics and to its atmosphere. Kiesler also deemed that it was essential to disregard the boundaries that separate the different arts and media. These boundaries needed to be dissolved and proclaimed that painters, sculptors and designers, driven away by functionalism, would return from exile to be welcomed by architecture. Since his death in 1965, his notion of Endless Space and his studies ‘On correalism and biotechnique’ in particular, have resurfaced in recent art discourse. New technologies have emerged that are now provoking different questions regarding the techno-ethics of integrated biotech and post-digital tectonic potentials that withhold the concept of an ubiquitous and synaesthetic space.

In the same way that humans have always had the need for inventing fictional and virtual worlds, they have also experimented an attraction for the threatening and fascinating ideas of the doppelgänger, automata, and by the related phenomena of desembodiment, ubiquity, remote viewing, bilocation, splitting personalities. The phenomenon of bilocation, for instance, has been widely mentioned in different philosophical and religious systems such as Shamanism, Christian mysticism, Hinduism, Paganism and others as the ability that some individuals (often saints, monks or mystics) would have of being in two, or more, places at the same time. The advent of the Internet, new technologies and social networks has opened up new and unexpected possibilities in this respect, enabling one to expand oneself. If not long ago, these experiences had to be ‘lived’ through cinema and literature; today, it is possible to undergo them in first person: everyone is allowed to create other selves, other profiles, avatars, entities or doppelgängers that can operate in the world (remotely) as extensions of him or her. Consequently, the image has also undergone a change in function and status, opening new possibilities through its digitalization. The present work intends to explore the relationship between presence, telepresence, images and the self.

I am a Homo sapiens, female. I have consciousness and awareness. I am aware of my position on the universal map, the galaxy, the solar system. I am a new media artist. My works deal with the meaning of life, evolution, the divine, religion, information, ego, soul, spirit and consciousness. As I am not a scientist but an artist, I will exercise the right given to me by art and present some surrealistic, speculative assumptions. They are theories about information, the universe and consciousness. There is also a story with the characteristics of a scientific theory and the imagination, the unexpected and the transcendence of a fairy tale.

In these collaborative, theoretical and performative pieces our aim is towards radical expansions of various formal parameters in western philosophy through art praxis that de-centres the roles played by the animal subject, industrial technologies, and soil in modernist paradigms. Exceeding these conventions demands pushing against/past blockages (aporias) to broader engagement with whatever refigured subjectivities are called into constellative gathering in the process. The immanent multiplicity of constellative (Soilogic) analysis ‘cuts in all directions’ in its insistence on attempting to ‘upend’ multiple disciplines simultaneously rather than remaining mere cross-disciplinary embellishment between art and philosophy. Opening new ruptures in horizons of interpretation and maintaining them through artistic and philosophical agitation involves a ‘fidelity to the impossible’ (Young), and a reach beyond the known and tried. It is also a reach towards a blurring of Techne and poeisis in the inter(fur)faces of Dawn (a dark Horse), Gladys (a Goat), and the debris field of the zeppelin USS Macon that crashed into the ocean and sank off the coast of Monterey, CA in 1935. Initially we did so by painting portraits of Nietzsche and Benjamin on Dawn, putting them into conversation with each other on the question of Animality. We then attempted to make ‘haptic’ contact with the Macon while posing performative questions about interrelations, telepathies and hauntings among Animalities, Techne and more-than-humanist Materialities.

The main object of this project is how it can become possible to sense an invisible element such as the air. An installation will be created that will aim to provide a sensorial way of dealing with the air and the wind – that is air in motion – with the help of a computer-assisted environment. The objective is to engage the spectator in the navigation of semantic and sensual space that has its own quasi-mythical structure. The attention is focused on the cognition dimension of the human body and senses and the enlargement of perception through the application of new technologies. The wind is a highly abstract phenomenon, with many physical and metaphysical aspects and is one of the basic elements of the physical universe. At the same time, the wind has an enormous impact on our lives, which we perceive, visually and acoustically only through its effects. That is why it has provided material for mythology and art throughout the centuries. In this project, the intention is to create a place where the visitor will be immersed into the landscapes of the winds of the world in order to increase his awareness and knowledge about them by merging technology, myth and body. The research is going to deal with both physical and metaphysical/mythological dimensions of the phenomenon. This starts with an investigation of references to winds and wind phenomena in mythologies world-wide, and extends over the scientific or causal explanations of the wind, as well as the investigation of its auditory and visual manifestations. Data from the Internet will be converted to audio and visual forms in a physical space, in real time. The online data that will be fed into the system are the intensity and direction of the winds at specific default locations on the planet. The visitor’s movements and his/her path in this given area will affect these audio-visual forms. The deliverables of the project (still in its definition phase) are:A study including the research methodology and the outcomes from the researchAn audio-visual interactive installation based on web data

Researching user experience in smell perception I will contribute to a methodological approach of generating meaning creating knowledge and awareness in a culture of senses, understanding smell as a storying element in myth corresponding with design. In my paper I address images in Homeric language triggering mythical ‘smell scapes’. I examine smell perception in the perspective of narrative elements reflecting interactions of actants and agency in actor networks: Addressing myth as a challenge of narrative framings of two levels, i.e. media in smell and language, I suggest that smell research is not only a way to understanding media (McLuhan), but also to a new way of designing research tools that contribute to cultivate odor perception as a cultural quality of space and time perception.

Smell can be understood as a cultural phenomenon, historically signified, enforcing social structures or transgressing them, creating social bonds – empowering or disempowering people. The perception of smell consists not only of the sensation of the odours themselves, but of the experiences and emotions associated with them. Odours, unlike colours, for instance, cannot be named, only described; in the realm of olfaction, we must make do with descriptions, analogies and recollections. It is an elusive phenomenon. From natural environments to urban spaces, the large variety of odours can stimulate our olfactory senses and evoke experiences, in which pleasant and unpleasant, and even non-smelling scents, can be combined as parameters of spatial limits and social bounds. Thus, smell can be used to structure and classify different aspects of the world, from time and space to gender and selfhood. The aim of this text is to comprehend some chemical and cultural aspects of smells and odours, and their potential to elaborate social connections and configure spatial orientations. Based on some examples from the Bororo of Brazil and the aboriginal inhabitants of the Andaman Islands, odours are understood as cultural classification systems and means of ordering the world. At the end, some artists – such as Usman Haque, Rion Willard and Jenny Marketou – will be presented since their art works proposals of mapping and describing physical spaces through smells and odours can be apprehended as a medium to create evocative experiences.

This article discusses the potential of a contemporary understanding of what Heraclitus and the Stoics called ‘cosmological logos’, and its relation to human reason and cultural communication. I will relate the example of Descartes’ and his introspective method in Meditations on the First Philosophy (1647) to a contemporary understanding of the potential of introspection, related to theories of the embodied mind, virtual levels of nature and a possible connection between them. Where Descartes focused upon the rational properties of the logical mind, and its potential to relate to nature’s higher logic, I relate my vision of a modern logos philosopher to Charles Sanders Peirce’s concept of nature’s ‘habits’, triad semiosis and the overall phaneroscopic phenomenology, which I connect to the concept of ‘aesthetic reason’. Aesthetic reason, in this context, represents a complex kind of rationality that involves a broader variety of cognitive processes. It is based on Extended Sentience, which includes properties of quantum communication that simultaneously work within the confinements of the mind–body, while simultaneously transgressing it. This article takes an overall evolutionary perspective, and claims that the prerequisites for experience and rationality are changing over historical time, due to evolutionary changes at endosemiotic levels of the mind–body. The prerequisites for Descartes’ activity of cognitive mediation and such of a modern logos philosopher, would thus not be equal. I will elaborate on the differences in this article.

It has been said that our ability to identify and describe consciousness is like that of a fish describing water. Since a fish has always been immersed in water it cannot provide an accurate description. It stands to reason then that those who have experienced alternative states of consciousness have unique insight into the nature of consciousness. The historic use of imagery, music, poetry and other creative forms to describe as well as communicate not only emotion, not only intellectual data, but also states of consciousness – states of ‘being’ is well documented. Celtic poetry, Greek mythology, African ritual rhythms and contemporary creative works can be viewed as notational systems that encapsulate states of consciousness and could be investigated as such. As our creative instruments become more sophisticated our ability to express states of consciousness does as well and as a natural extension of this creative process, the artists’ exploration of consciousness equally intensifies and expands. As the Surrealists explored sub-consciousness, what areas of consciousness does contemporary creativity explore?

This report illustrates the concepts and outcomes of the Re/think Re/design workshop held at NIMk during the last quarter of 2011, with the participation of the Montessori Lyceum Amsterdam.

This article investigates the concept of sound, in relation to the new means and sciences from different perspectives, ultimately providing an analysis of the newborn artistic movement of bioart. It is divided into two parts. The first part of the study is based upon reference, investigating the interconnection between art and science. This mechanism is characterized by transformation processes in the interdisciplinary practices that are applied mainly by various artists and movements of the post-Second World War period. The expressive element seeks an unworldly explanation through audio and visual conjunctions. This nature is obvious in Paul Klee’s reflections of musical elements in his paintings, and Rimmington’s attempts to marry audio-visual influences in his ‘colour organs’. The experimentations of composers such as Xenakis and Stockhausen at various locations with light and colour illustrate the continuous quest to render sound by the use of new means. Technology is a vital component of transformation as it enhances syncretic creativity for various art domains such as those that Fluxus deployed. Nam Jun Paik and Dick Higgins introduce radical techniques in their performances as they detach their selves from the parameters that define composition, and use the mind and power of sentiment in order to identify reality aurally and optically. Towards the end of the twentieth century, we witnessed the appearance of new art forms such as bioart. The human body, host of material and immaterial functions, comes to the forefront of art prac¬tice. Its relation to elements such as oscillations and vibrations that express the energy flow is analysed through the model of spiritualism that came from eastern thought. The notion of digital embodiment is presented as a reminder, highlight¬ing the importance of technology in biotechnology and genetics. The second part of the article involves an experiment. This describes how the concept of biomusic is applied with the use of electrocardiography (ECG) data from the MIT PhysioNet database. As sound penetrates the entire human body, it can be analysed in all of its phasma. Using this information, we attempt to translate/transform these biological sound phenomena into music. The sound produced by the elaboration of data that result from biological functions can be described as biomusic. It can be transformed into frequencies related to time and can be expressed in musical themes. Sonification plays an important role in this research as it constitutes a rapid and precise rendering of polymorphic information (in this case the ECG) in musical notes. This modelling and musical attribution leads to two distinguishable results, each concerning different clinical cases (all data belong to a normal heart function and a pathological one). The invention of this novel system is suggested for scientific as well as musical disciplines. It has the ability to be implemented in an experimental form and obtain an educational character. The transformation process avoids compensation throughout the matching process between ECG functions and music, while focusing on the aesthetic factor at the same time. Sound meets art in the world of biomusic as it takes shape through technology, constituting a new medium to further evolve the model of ‘biology into art’ transformation.

This article will consider sound as a glue between internal and external experience, a link between sensing and cognition, memory and perception. In looking at research in neuroscience, specifically Eugene Izhikevich’s work with models of spiking neurons, parallels may be drawn with faulty source monitoring where a subject cannot differentiate between external and internal stimuli, and with a collapsing of present into the past. These ideas will be discussed through a number of sonic artworks that have neural plasticity, space and location at their core.

The text describes the research Geopartitura executed by the team MidiaLab Computer art research laboratory, that raises the thought about social artists and urban space. As a work of art it can be considered activist action. As a system, it is composed by software, database, locative media and mobile devices. The work was created to be performed as urban interactive cyberintervention, in order to interact with passers-by, a bias of social inclusion, transforming the urban landscape and its noises, at a dimension of open space for discussion. As active and engaged art, presents the artist as social citizen.

In recent years, we are facing an increase in the use of the word ‘object’ in reference with studies about sound perception. It is suggested that this might be due to the adoption of a visual paradigm, also supported by the noun-based structure of our natural language, which is not adequately discussed. A change in the paradigm from ‘object’ to ‘pattern’ has been proposed.

With this text I wish to revisit a long-standing preoccupation of mine which addresses the extent to which the digital medium may have brought about a paradigm shift in creative process; one which has been effectuated through a conversion of the creative medium itself – from atoms to bits. As a visual practitioner, what is particularly significant to my enquiry is that this change in medium is deemed to have brought about a change in language that affects the very nature of autographic work which comes into being as visual output: following Goodman’s definitions of allographic and autographic output, McCullough asserts that visual artworks may now be considered to be allographic productions since they presently share the same attributes of notationally based allographic work, which has traditionally manifested only as music or as literary output. The result is a work environment which wide opens the doors to unprecedented levels of non-linear process and experimentation whilst engaged in the visually creative act.