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- Volume 9, Issue 2, 2012
Technoetic Arts - Volume 9, Issue 2-3, 2012
Volume 9, Issue 2-3, 2012
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The case of holography among Media Studies, art and science
More LessIn the last few years holography has celebrated some important anniversaries: in 2010 the 50th anniversary of the light amplification by stimulated emission of radiation (LASER) invention; in 2011 the 40th anniversary of the Nobel Prize awarded to the Hungarian scientist Dennis Gabor for inventing holography and in 2012 the 50th anniversary of the first holograms. Holography can create an accurate visual simulation, with total parallax: a replica of the real object made of light, which has the real object’s visual properties but is immaterial, intangible. The holographic images are volumetric and exist in a real and measurable space, and are not based on the Renaissance perspective, which can represent the three-dimensional physical space in a bi-dimensional one. In the near future, holography-based techniques will open up new possibilities in the visualization domain, allowing new visual worlds. In the meantime, holography can be a useful technical and theoretical tool for reflecting on how our everyday mediascape works. The media can produce, reproduce and transmit bi-dimensional images on flat supports. The media system has a high degree of coherence and the images share similar morphostructural rules, and thus can be transferred from one medium to another without any fundamental information loss: bi-dimensionality and image-support coincidently appear to be the basis of this high level of translatability. Conversely, holograms cannot be displayed through the usual media without losing their peculiarity: they require new displays, new visual media and new genres of communication, even if they hybridize with the existing media. Holography stands apart from the media realm, which in part explains the difficulties of this technique in emerging and integrating into the mediascape. Holography suggests a new visual universe within a culture where visual simulation is the most effective communication system, and it lets us reflect on the need for a more comprehensive definition of ‘image’. It is easy to imagine that future images will also be holographic and that we will communicate more and more through them, in a delicate balance between presence and absence, immediacy and remoteness, materiality and immateriality, matter and energy. Holography can work as a model in science, for example in the study of brain activity in the Holonomic Brain Theory, originated by Austrian psychologist Karl Pribram and initially developed in collaboration with physicist David Bohm to explain human cognition. Holography can also be a model in physics, for example in the idea of the physicist David Bohm of an ‘implicate order’ in the universe, where global structure can be found in each small part – the universe would be a gigantic and wonderfully detailed hologram. More recently, theoretical results on black holes suggest that the idea of a holographic universe is a viable hypothesis. And in the field of quantum gravity and string theories the ‘holographic principle’ suggests that the entire universe can be considered as a two-dimensional information structure, and that the three-dimensional world we observe is but a description at a macroscopic scale and at low energies.
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Algorithms and language concepts in coded art
More LessThe present article reports several applied experiments in the generation of aesthetic forms from algorithms and data. In these experiments algorithms and data are the driving morphogenetic force to such an extent that the role of the human creator must be reexamined case-by-case. Artists that program the graphics or sound generating algorithms may in turn be said to be programmed perceptually by the resulting artworks, in the sense that they must adapt their perception in a conscious or involuntary effort to detect or project meaning in their form. While forms generated by algorithms or data are to a large extent unpredictable, an intimate relationship between programmer, performer/listener/viewer and the piece is created through instinctive, empirical familiarity with the tools and the creative process, which is afforded by the immediate and highly interactive nature of the frameworks employed. A simple iterative algorithm that produces a novel kind of chaotic geometric shapes is presented. Examples of an application of Paul Klee’s principles of visual form in programming interactive audio-visual dance performance are given. These principles are directly derived from the language-based metaphor of active, medial and passive voice. Finally, ongoing experiments in letting language structures emerge from data derived from a sound database are presented.
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The synthetic experience as an exoskeleton of the mind
More LessThe synthetic experience can be understood as the natural experience extended through technological means. These means are usually designed to immerse a person or people into a representation of reality, being that reality is one of being immersed in a task, a state of mind or an imagined space, or a combination of them. To represent reality, technology is built around the human perceptual system that connects with the focus of its attention towards the outside world. In handling reality, the human perceptual system also extends inwards, to patterns of reasoning where the structure of the body, that is, the perceptual system itself, models the organization of ideas and interaction. Therefore, a synthetic experience has unique potential to allow for interaction with structures of the mind.
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The spatial context of the aesthetic experience in interactive art: An inter-subjective relationship
Authors: Veroniki Korakidou and Dimitris CharitosThis article investigates the aesthetic experience within telematic space, using terms introduced by kleinian psychoanalysis. We argue that the object of the aesthetic experience in multi-sensory interactive installations can be analysed within a spatial context of a dual nature, involving both the physical space of the installation and the virtual space of the participating subject’s perception, a hybrid space. Therefore, we discuss the aesthetic experience of interactive artworks as an intersubjective relationship between the artist and the audience, where the aesthetic object becomes the subjective perceptual experience of this process of interaction. The space, where the visitor ‘meets’ the artist, is the place of the aesthetic experience. Aesthetic experience takes place in both the physical and the ‘potential’ world of our internal representations, the internalized, ‘mental space’ of projected fantasies: our unconscious.
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An introduction to Neopoetics
More LessNeopoetics is a matrix for dynamic perceptual convergences between material and immaterial systems. The deep foundational ground for Neopoetics is the Poetics of Aristotle and its relation to the ancient Greek theatre as a practical systemic ideology for the mythic Greek drama. As Aristotle’s Poetics posits six basic components for the construction of drama (plot, character, thought, diction, song and spectacle) the neopoetic system has six constituent aspects: expanded embodiment, experiential metaphor, matrix architecture, perceptual resonance, the rheomode and neopoetic mythos. Expanded embodiment describes an expansion of the corporeal body into fluid, dematerialized dimensions of experience, expression and exchange. Experiential metaphor is a sensate interface between the expanded body and the dematerialized field that contextualizes it in a neopoetic framework. It is what Roy Ascott terms an interspace: ‘found between the virtual and actual, where reality is renegotiated and the new consciousness is embodied’. The next three neopoetic aspects describe the language structures through which a new mythos is articulated. Matrix architecture is a framework for activation and alignment of the senses. It is a multisensory perceptual membrane that ignites the prism of the expanded body’s sensorium within the fluid interface of experiential metaphor. Matrix architecture articulates both a new sensorium and its interface with an integrated material/immaterial perceptual field. Perceptual resonance is the cathartic awakening of ‘the space between the senses’, evoked by the alignment of perceptual dimensions through matrix architecture. From this prismatic aperture emerges the mythic, transformative rheomode – the experiential language of the quantum wave. The rheomode is an expression of language. The term was coined by the quantum physicist David Bohm as an experiment in pursuit of a linguistic dimension of the wave. Yet in a neopoetic context, the rheomode becomes an evolutionary system. As Roy Ascott states,Language is not merely a device for communicating ideas about the world but rather a tool for bringing the world into existence. Art is a form of world building, of mind construction, of self-creation, whether through digital programming, genetic code, articulation of the body, imaging, simulation, or visual construction. Art is the search for new language, new metaphors, new ways of constructing reality, and for the means of redefining ourselves.Neopoetics mythos unfurls through the rheomode. It is an expression of an emerging ecology, an experiential awakening of the wave within the particle. Neopoetic myths are fluid evolutionary pulsations. They are transformation in the liquid convergences between material and immaterial dimensions. They are streams of lava birthing bedrock for an emerging paradigm.
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Love-in-idleness: Quantum entanglement dreamscapes
Authors: Clarissa Ribeiro and Milena SzafirDespite the entangled universe cannot be considered merely as an enormously complex system, as it is reactive to actions and observations, references on quantum entanglement in living systems may help find ways in which quantum effects can move from the microscopic to the macroscopic, in realms where the mind/brain behave as a quantum object and is sensitive to the dynamic state of the entire universe. Taking up vision from a synaesthetic perspective as a perfusion of senses, and putting together a myriad of references around this perception phenomenon, the idea is to work in the building of artistic experiences where vision takes up a tactile function, emerging from a tension between the movements governed by the interaction of the attractors.
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What do we really measure and what relevance has the data to us personally? Are measurements and their interpretations biased by our subjective views?
More LessIn a world that is increasingly subdued to digital quantification, the human becomes more and more the focal point of measurements. The question arises as to whether the interpretation of such readings should be left to experts or whether each of us should become an expert. Should we know what is really measured and how to interpret the numbers? Is understanding such measurements an advantage or are we simply deluged with numbers?
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The myth of symbiosis, psychotropy and transparency within the built environment
More LessBased on earlier studies of J. C. R. Licklider, this article translocates the context of symbiosis between man and the machine into the built environment, and more specifically into contemporary methods for the design of domestic/residential spaces. According to this, a discussion is made concerning the implementation of media and sensor technologies within the architectural DNA that initiate the emergence of psychotropic spaces of Ballardian Architecture; structures that are capable of becoming extensions of the inhabitant’s mood, emotion and psyche. Furthermore, this article presents Plinthos Pavilion, a collaborative artwork that confronts issues of transparency, ubiquity and invisibility; an example of synergy between the primary notions of architectural and media design, which blend with the use of electronic and digital technology, transforming a physical structure to an organism that breathes, reacts and communicates.
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Multimedia spatial organization: Towards a different type of cultural economy
More LessThis article attempts to establish analogies between the recent introduction into architectural thought of notions such as the human body movement, events and scenarios, and the development of navigation and interaction principles and conventions in the computer world. The study of the human–computer interface contributes to an understanding of the major role of the computer screen as a point of convergence of different representational forms, and the emergence of new ones belonging to the digital culture. The compositional structure of interactive multimedia works is on the one hand a visual, spatial composition and on the other a narrative and navigational structure.
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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)